George Arnold Quotes
Quotes to Explore
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Once you make it to your point of making it, you'll appreciate the struggle.
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Diversity isn't just a hallmark of big cities anymore.
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Inevitably, I think the people that want to work with me are also the people that I want to work with.
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Born in 1936, I experienced the Second World War as a child in the city of Gelsenkirchen-Buer. This area was heavily bombed, but fortunately, all members of my family survived the war and post-war period.
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I'm a plodder, one foot in front of the other. Life is all about understanding that anything that can go wrong, will go wrong. And it's your ability with how you deal with that adversity that ultimately affects your success.
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Fallible characters are more interesting than superheroes in the end.
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The good parts about being a public company are increased discipline, increased execution and increased transparency to make sure that you are really building a company for a hundred years.
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When I work with other people, I don't have to do that - it's because I love to do it and I want to do it.
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One of the most important things we hear is the S.B.A. needs to be ubiquitous. We do all these things, but people still don't know.
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I think there's a very fine line between the type of performing that some actors do, and being in a state in your mind where you actually believe what's going on. If we weren't actors, what would we do with that ability? Would we not be slightly insane? Mentally ill? I don't know.
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Sometimes, things need to be so understated on film that I don't even see them as funny, which isn't my favorite style, comedically. When I watch film comedy, I like people that are a little bit more alive on the screen and wound up. I like volatility and unpredictability and other long words like those.
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I always sang in school choirs and went on tours to other countries. I have always loved it. It's a very communal thing, and you really connect with people.
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I believe in any country, matters that relate to its territory would, of course, provoke strong sentiments amongst the people of that country.
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Our elders are always optimistic in their views of the present, pessimistic in their views of the future; youth is pessimistic toward the present and gloriously hopeful for the future. And it is this hope which is the lever of progress-one might say, the only lever of progress.
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James Baldwin is probably the biggest influence on me from a literary perspective.
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By painting colours and lines and forms seen in a quickened mood I was seeking to make this mood vibrate as a phonograph does.
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One of the most difficult of the philosopher's tasks is to find out where the shoe pinches.
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‘Yes, my friend,’ he said. ‘It is so easy to be an American - here in Paris! A nasal voice - the chewing gum - the little goatee - the horned-rimmed spectacles - all the appurtenances of the stage American…’
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We can't stop a baby in Africa from starving to death... but we can afford enough technology and weaponry to blow the world up a million times over.
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But the thing about bad guys is that they have the biggest bosomed blond, they have great clothes and cars, and get great death scenes.
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Rocket science is tough, and rockets have a way of failing.
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The Gutenberg galaxy was theoretically dissolved in 1905 with the discovery of curved space, but in practice it had been invaded by the telegraph two generations before that. (p. 286)
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In fiction, a reaction shot is a brief portrayal of how your character reacts to something that someone else has done. In contrast to more direct character building, your guy doesn't initiate the sequence; he completes it. Exactly how he completes it can tell readers a lot about him.
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Life for the living, and rest for the dead!
