Alex Haley Quotes
Either you deal with what is the reality, or you can be sure that the reality is going to deal with you.
Quotes to Explore
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When people treat you mean, you dislike them for that, but not because of their person, who they are. I was born and raised in a segregated society, but when I left there, I had nobody I disliked other than the people that'd mistreated me, and that only lasted for as long as they were mistreating me.
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The very phrase 'Make America great again' implies some kind of reset to a time long since passed. A mission to restore America to a previous default setting where American economic superiority was without peer, factories and manufacturing plants were humming, and jobs were plentiful for anyone who wanted one.
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Capitalism is about adventurers who get harmed by their mistakes, not people who harm others with their mistakes.
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I so never went through a bad-girl period.
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I could have ended the war in a month. I could have made North Vietnam look like a mud puddle.
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Children refuse to compromise. Adults learn how.
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I hate to tell you this, but there's an entire subset of people out there who think of me as quite a dull actor. And that's the word used, and often – dull.
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I'm very happy to co-produce a film like 'Srimanthudu.'
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Social Security is too vital to be lumped into backroom budget talks where the views of ordinary Americans risk going unheard.
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I don't turn my nose up at anything. If it's a great part, it's a great part. I'd love to do a box-office hit.
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Poverty can teach lessons that privilege cannot.
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Pop knew absolutely nothing about pro football.
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It's tricky, performing the show live. Because when you're in a big auditorium, in front of 700 people, the natural tendency is to want to talk louder. You want to project.
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The season of failure is the best time for sowing the seeds of success.
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The day we run out of petrol is the day Iran will be free.
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I absolutely have not spoken to Marvel. It doesn't mean that my team hasn't spoken to Marvel.
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I don't really get stuck in a time warp where, if my film is a success, I have to keep partying till the next one releases, or if my film is a flop, I keep wallowing in sorrow until the next comes my way. My hard work in each film is always there.
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I don't mind about the boos from the audience.
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Everybody in my neighborhood in the '40s, they played pianos. That's how people partied. They didn't try the TV, the radio was OK, records was cool, but when people wanted to party, they got around a piano. My mother played piano, my sister played. I've been around a lot of piano all my life.
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I was always really inspired by watching the older girls competing, just seeing other Olympians do great things, and I just really wanted to be a part of that whole experience. And to be able to represent USA was always a goal of mine.
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I think I spend most of my time not living in reality, actually.
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I love the combination of smartness, pain, and what one might call conscious postmodern trashiness in this book: a version of the erotic full of nervous tension which animates the sensuality, and also Zimroth's feeling for words, compressed, ironic, withholding, but also 'asking for it . . . the siege, the thrill, the battle fatigue.' A profoundly urban book, of harsh memory and fantasy, set in harsher reality.
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The essence of trauma is that it is overwhelming, unbelievable, and unbearable. Each patient demands that we suspend our sense of what is normal and accept that we are dealing with a dual reality: the reality of a relatively secure and predictable present that lives side by side with a ruinous, ever-present past.
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Either you deal with what is the reality, or you can be sure that the reality is going to deal with you.
