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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I don't necessarily always feel happy when I'm skating.
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It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.
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The time the moon is going back, the blood that is in a person does be weakening, but when the moon is strong, the blood that moves strong in the same way. And it to be at the full, it drags the wits along with it, the same as it drags the tide.
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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.
