Alexander De Croo Quotes
Quotes to Explore
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The modern tradition is the tradition of revolt. The French Revolution is still our model today: history is violent change, and this change goes by the name of progress. I do not know whether these notions really apply to art.
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When I was 12 years old, I got interested in learning English.
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I am from the age of magazines, so the Internet is terrifying to me. But I am learning.
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The young are adept at learning, but even more adept at avoiding it.
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In terms of relationships, I've had two failures, although I don't like to call them failures; they are self learning, and I cannot say I regret any of my relationships. I've always said that I am a much loved woman.
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The record business is dangerous to the health of bands and individuals, which is something I'm just now learning. But it's not dangerous in any of the ways people think; it's not that they try to make you compromise your art. That's not the problem.
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Roosevelt was the one who had the vision to change our policy from isolationism to world leadership. That was a terrific revolution. Our country's never been the same since.
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I believe life is an 'experience ball.' You throw it at someone, it picks up their response... it grows. You play with that ball, learning what it teaches you.
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No matter what, you've got to always follow your passion in life and always keep learning.
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When you are doing a long scene, you have dialogue and interaction to narrate the character. But making sense out of facial expression and reacting is difficult. Having said that, I think such challenges are good for learning.
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The beautiful thing about learning is nobody can take it away from you.
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Learning another language is not only learning different words for the same things, but learning another way to think about things.
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I've worked with some actors who have such thick skins and think they are so extraordinary. I'll think, 'Have you stopped learning?' They stop listening to directors or other actors and do the same thing again and again.
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Despite a certain amount of rhetoric, such as 'the second American Revolution,' there is a fair consensus about which events in the affairs of a people can rightly be called revolutions. It is also clear that such revolutions are proper objects of study for the historian.
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So in my freshman year at the University of Alabama, learning the literature on evolution, what was known about it biologically, just gradually transformed me by taking me out of literalism and increasingly into a more secular, scientific view of the world.
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What we need in medical schools is not to teach empathy, as much as to preserve it - the process of learning huge volumes of information about disease, of learning a specialized language, can ironically make one lose sight of the patient one came to serve; empathy can be replaced by cynicism.
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You can have a revolution wherever you like, except in a government office; even were the world to come to an end, you'd have to destroy the universe first and then government offices.
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America's present need is not heroics but healing; not nostrums but normalcy; not revolution but restoration.
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There have been many different artists that have been inspirational. I suppose the question is directed to what was the reason why I went into fantasy illustration.
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I don't want to be totally repetitive and doing the same thing over and over again for the rest of my life. I don't want to do that at all.
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I think I must be the only British actor who's played both Stalin and Trotsky. I need to play Lenin so I can make it a triptych.
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Both music and acting are huge parts of my life - it's all about balance.
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Every industrial revolution brings along a learning revolution.
