Camilo (Camilo Echeverry Correa) Quotes
Quotes to Explore
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I'm thinking of doing more theatre. It makes me very happy.
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The last time I had to make a career decision, I was 17. I could have gone to Ballet Theatre or National Ballet of Canada. There were options. But as I became exposed to the Robbins repertoire, I realized that there was a living genius in the house.
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We've got a long career ahead of us and it's going to be great. Trust me.
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It's successful, middle-class Arab men and women, professionals with seemingly happy family lives, who are prepared to go to paradise for a greater cause. That's terrifying.
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Canadians are very proud of me, of my career.
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A man can be happy with any woman, as long as he does not love her.
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Hope and optimism have defined my political career, and I continue to be hopeful and optimistic about Canada. Young people have been a great source of inspiration for me.
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I'm hoping that the administration and other thought leaders will succeed eventually in bringing the country back to the older idea that the American dream is having a career, getting a job, and getting involved in it, and doing well. That was the core of the good life.
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I spend 90 percent of my time saying no, and my accountant yells at me for it, but when I started in this business, I wanted my career to have legs.
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If I've learned anything in my career, it's that nothing worthwhile in life comes easy. That's just the way it is.
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The smart way to build a literary career is you create an identifiable product, then reliably produce that product so people know what they are going to get. That's the smart way to build a career, but not the fun way. Maybe you can think about being less successful and happier. That's an option, too.
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Because I was from the Midwest and untrained, I was completely open and ready to try anything. Many of my classmates were cynical and jaded; some already had conservatory training, and they were there simply to get that Yale stamp of approval, which they saw as a career stepping-stone.
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I hold that the beginning of modern Irish drama was in the winter of 1898, at a school feast at Coole, when Douglas Hyde and Miss Norma Borthwick acted in Irish in a Punch and Judy show; and the delighted children went back to tell their parents what grand curses 'An Craoibhin' had put on the baby and the policeman.
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Work-family conflicts-the trade-offs of your money or your life, your job or your child-would not be forced upon women with such sanguine disregard if men experienced the same career stalls caused by the-buck-stops-here responsibility for children.
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My career aspirations as an actor have always been driven foremost by the creative desire to be versatile.
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I don't know much about auctions. I sometimes go to previews and see art sardined into ugly rooms. I've gawked at the gaudy prices, and gaped at well-clad crowds of happy white people conspicuously spending hundreds of millions of dollars.
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I've been extremely lucky in my career, in terms of artists and colorists I've been able to work with, and I think 'Helheim' is a perfect example of that look playing out perfectly.
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You want to strike that happy medium: the balance of being able to find creative satisfaction in your profession, be able to afford a roof over your head, but still have the freedom to live a relatively normal life.
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I get carded for soda, you know, when I go to the supermarket. I mean, they card me for everything. You know, I can't even get through a hand of black jack without getting carded, like, five times.
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I don't want to be considered a leader based on what people think goes on in the clubhouse.
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I make it a rule always to believe compliments implicitly for five minutes, and to simmer gently for twenty more.
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The Swedish language combines the strong manhood of the German with the delicate beauty of the Italian.
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There was once a community of scoundrels, that is to say, they were not scoundrels, but ordinary people.
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I feel very happy because this is the beginning of something very important for my career.
