Constantine Manos Quotes
The flow of people in a setting, their changing relationships to each other and their environment, and their constantly changing expressions and movements - all combine to create dynamic situations that provide the photographer with limitless choices of when to push the button. By choosing a precise intersection between subject and time, he may transform the ordinary into the extraordinary and the real into the surreal.
Quotes to Explore
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I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
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I began both auditioning with Pearl Jam and recording for Eleven. In the fall of 1994, I joined Pearl Jam.
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Men do not value a good deed unless it brings a reward.
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You know, I've sold a lot of bad movies in my time.
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There's so much hate that we direct externally that we forget we have our own psychos. But that's the role of the satirist - you have to examine your own country and say, 'look!'
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I like freedom. I wake up in the morning and say, 'I don't know, should I have a popsicle or a donut?' You know, who knows?
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I think people think of me as this elegant person because they always see me dressed up.
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When I was singing, everybody liked me.
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I am actually a bit chubby, and I eat everything. I eat in a way - if my parents fed me the way I choose to eat as an adult, they would've lost custody.
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People said when I started, 'Why don't you just copy your father's style?' I had to be myself, singing my songs in my own way.
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Nowadays, the truth is, I think a lot of the newer generation of action stars usually are pretty self-deprecating and cool. I mean, Dwayne Johnson is a great example.
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My physical transformations - like changing my hair - are usually a reflection of what's inspiring me at the moment.
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I was no Marie Antoinette. I was not born to nobility, but I had a human right to nobility.
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My father taught me that one of the most important abilities in life is to be able to take the pain and persevere, and for years this lesson had served me well.
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And who (in time) knows whither we may ventThe treasure of our tongue? To what strange shoresThis gain of our best glory shall be sentT' enrich unknowing nations with our stores?What worlds in the yet unformed OccidentMay come refin'd with th' accents that are ours?
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I always feel I have to take a stand,And there's always someone on handTo hate me for standing there.I always feel I have to open my mouth,And every time I do, I offend someone, somewhere.
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As for me, I am mean: that means that I need the suffering of others to exist. A flame. A flame in their hearts. When I am all alone, I am extinguished.
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It's rough being a teenager in this day and age.
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If we have not quiet in our minds, outward comfort will do no more for us than a golden slipper on a gouty foot.
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I worked as a carpenter for a few years. I began writing. I wrote a book about my time in Africa - that came out in 1988 - called 'The Village of Waiting.'
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My father superintended the English part of my education, and to his care I am indebted for anything valuable which I may have acquired in my youth. He was my only intelligent companion, and was both a watchful parent and an affectionate friend.
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The flow of people in a setting, their changing relationships to each other and their environment, and their constantly changing expressions and movements - all combine to create dynamic situations that provide the photographer with limitless choices of when to push the button. By choosing a precise intersection between subject and time, he may transform the ordinary into the extraordinary and the real into the surreal.
