Courtney Milan (Heidi Bond) Quotes
If your point of reference is a glimpse you’ve caught of a business transaction conducted in an alley, I’d venture that you have no idea what I can do with a wall.
Quotes to Explore
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It would be wrong to assume that one must stay with a research programme until it has exhausted all its heuristic power, that one must not introduce a rival programme before everybody agrees that the point of degeneration has probably been reached.
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When there's a status quo, usually what shakes everybody up is some sort of military confrontation, at which point we all come running and screaming to pick up the pieces.
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I'm 43 now. I've reached the point where I really can't care what anyone thinks. Of course, I do. I'm an actress. I'm totally insecure, but I'm trying to stick to my guns about what is important to me, and it doesn't matter what anyone thinks I should or shouldn't do.
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Over and over I'm on the point of giving it up.
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I was raised to want to work for a living. The idea of just sitting around or going shopping every day appalls me.
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Murderers, in general, are people who are consistent, people who are obsessed with one idea and nothing else.
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At some point, you decide to take something you really like and turn it into a business you love.
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I like to release music the way I feel it, as opposed to having a date. The idea of dates, boxes, categories are very scary for me.
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I mean, there's no point in sittin' around and cryin' about spilt milk. Gotta move on.
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I like the idea of the comedy of resilience.
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In all my years of baseball, I have always expected to be traded. I never liked the idea.
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We are all quick to point out all the differences but not as willing to accept what bonds us as humans.
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Even today I work with Niall O'Brien, who is far more technically astute than I am, but I still have the clearest idea of every detail I want in my photograph.
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I really hate bureaucracy and the idea that I'm not a free person.
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I'm almost numb to misogyny at this point. It's just everywhere.
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I don't see the point in working just to be working.
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The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.
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The idea was always to be an actor.
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A fixed idea is like the iron rod which sculptors put in their statues. It impales and sustains.
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Philadelphia reflected the national turmoil over race and the Vietnam War, often exploding on my watch.
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Those who say they want to be writers, and aren’t writing, don’t.
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A lot of times, directors don't know how to speak to actors, or writers don't know how to communicate.
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If your point of reference is a glimpse you’ve caught of a business transaction conducted in an alley, I’d venture that you have no idea what I can do with a wall.
