Freddie Ljungberg (Karl Fredrik Ljungberg) Quotes
Quotes to Explore
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One of the tragedies of modern times is that people have come to believe that something said by someone in the past, perhaps for illustrative or provocation purposes, actually represents that person's beliefs at the time.
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You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.
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I've been in this business a long time, and I'm very clear on what is real and what is fleeting.
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Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!
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At 12, turned 13, made a movie with Sex Pistols and The Clash. Learned about a lot of things I never knew and hope will never know again. Don't know how my parents let me do that.
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We have to pray with our eyes on God, not on the difficulties.
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If you look a little punkish, then they're going to give you the parts. And if you play an iconic villain early on in your career, you tend to get asked to play one over and over and over again.
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I sit with people who are dying. I'm one of those unusual types that enjoys being with someone when they're dying because I know I am going to be in the presence of Truth.
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I know that in my own mind, I struggle with a desire to be both entirely absent and entirely present in any given moment.
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I'm a very spontaneous person, for the bad and the good.
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Nothing so needs reforming as other people's habits.
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I wrote a song called "Green Day" because I was smoking a lot of dope.
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This is first time we've ever done one Russ and myself. We're looking forward to it. We have remained friends and kept in touch. Most of the 'West Side Story' cast, when we see each other, it's like it was yesterday. We're like a family. That experience brought us close together and we remained that way ever since. We all like each other.
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Humor is the mistress of tears.
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The "wall of separation between church and State" is a metaphor based on bad history.
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I shall look forward to a pleasant time.
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Adele Adkins' retro-soul debut, '19', was striking less for her songs than for that voice: a voluptuous, slightly parched alto that swooped and fluttered like a Dusty Springfield student trying to upstage her teacher, or at least update the rules.
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During my early years, I was mercurially lively, always in motion, spilling over with pranks, impertinent and precocious, and, at the same time, intractably stubborn and angry if anything went against my will.
