Luc Ferrari Quotes
I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.
Quotes to Explore
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Even as a kid, I read 'Jung – Reflections and Individuation In Fairy Tales'; all the inner circle of Jung was a real huge thing for me.
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Somebody once told me I shouldn't try to change Hollywood. That isn't my point at all. I don't want Hollywood to change me.
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I have a blog in Chinese, which you can follow, Chinese signs. But I don't even update at all, often I don't.
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Well, it's still another two-day competition, so it's really important to show that you're ready. Every meet is really important right now. You've got to keep showing you can hit.
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The best time to expand is when people are asleep at the wheel.
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I've spent my life navigating through sensitive issues. Not wanting to upset people.
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I'm showing the younger generation your career doesn't have to be over when you're 16-years-old.
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The Western poet and writer of romance has exactly the same kind of difficulty in comprehending Eastern subjects as you have in comprehending Western subjects.
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When I had my television show, 'Barbara Mandrell and the Mandrell Sisters,' it was my high hope to convert people to country music. It is wonderful and contagious!
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I worked in SRK and Salman Khan's films as a child artiste, so Bollywood has always been on my radar.
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I want to have a career in 10, 20 years, so it's harder now, and maybe more stressful now, but in the future, hopefully it will all pay off.
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The communication of the dead is tongued with fire beyond the language of the living.
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There has always been a saying in baseball that you can't make a hitter, but I think you can improve a hitter. More than you can improve a fielder. More mistakes are made hitting than in any other part of the game.
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When you take a shower in space, you have to press the water onto your body to clean yourself, and then you gotta vacuum it off.
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Very few of the early Italian humanists were really humane.
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People are going to go where they get characters that they remember.
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I had a nervous breakdown when I was 17 or 18, when I had to go and work with Marky Mark and Herb Ritts. It didn't feel like me at all. I felt really bad about straddling this buff guy. I didn't like it.
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I am not interested in slickness for the sake of slickness.
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It's critical that the manager has the respect of players so he can make the moves that he feels is appropriate without having somebody go to the papers. They respect you. So you respect them back.
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In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
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My first show was 'No Exit.' You couldn't find a more pretentious beginning, but it also instilled some sense of quality.
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Obviously, fans are the beginning and end for any artist. The minute your fans embrace you and accept you, you begin this ride of being in music and having a career doing something you love. You get to go be a kid and live out your dreams by performing music for fans who come out to your shows.
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Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
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I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.
