Aunjanue Ellis Quotes
Sitcoms are incredibly limiting. When you do a sitcom and it becomes a signature part for you, it's harder to do something else; but if you do a drama, you can get lost in it and have a role to do other things.
Quotes to Explore
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Many people have said we just need to add more products. Look at Oracle, look at SAP. Add ERP and inventory or compensation. Add all this stuff. What we realized is we're the customer company. We're the front office solution, and our customers would be really upset if we just added a whole bunch of stuff and lost focus.
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Spiritual space is lost in gaining convenience. I saw the need to create a mixture of Japanese spiritual culture and modern western architecture.
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Often people display a curious respect for a man drunk, rather like the respect of simple races for the insane... There is something awe-inspiring in one who has lost all inhibitions.
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When a woman has lost her chastity she will shrink from nothing.
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Humanity has the stars in its future, and that future is too important to be lost under the burden of juvenile folly and ignorant superstition.
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My mom was always keen I stayed in school and got good grades, and she was always keen for me to do medicine. I used to go to drama classes when I was younger, and she would always take me. But when I got to an age when I decided it was what I wanted to do, when she accepted it, she had actually been the most supportive person ever.
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Many may look at me and see mostly what I have lost. I struggle to speak, my eyesight's not great, my right arm and leg are paralyzed, and I left a job I loved representing southern Arizona in Congress.
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The whole force of the respectable circles to which I belonged, that respectable circle which knew as I did not the value of security won, the slender chance of replacing it if lost or abandoned, was against me.
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Those who seek to satisfy the mind of man by hampering it with ceremonies and music and affecting charity and devotion have lost their original nature.
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What usually happens in the educational process is that the faculties are dulled, overloaded, stuffed and paralyzed so that by the time most people are mature they have lost their innate capabilities.
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I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
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My mom and grandmother were actresses, and I knew I was going to do this since I was super young. I would put on shows at my grandparents' house and sing 'Somewhere Over the Rainbow' in the living room. I was in drama club and chorus, and I knew every word to 'Grease.'
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The big businesses are less willing to take risks. I talked to some young people in Hong Kong, and they said they are lost. Young people indeed have fewer opportunities than before. But is it true that there are no more opportunities for them? No!
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I don't think, until you've actually lost somebody you really love, that you can go through that door that allows you to be grown-up.
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We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.
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The past could liberate or imprison - it creates a nation's character, provides the nourishment or the poison a people imbibe in their very marrow.
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A tree is known by its fruit; a man by his deeds. A good deed is never lost; he who sows courtesy reaps friendship, and he who plants kindness gathers love.
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I'm a writer who simply can't know what I'm writing about until the writing lets me discover it. In a sense, my writing process embraces the gapped nature of my memory process, leaping across spaces that represent all I've lost and establishing fresh patterns within all that remains.
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As a young physician in the mid-'80s, caring for people who had contracted H.I.V., I lost two of my patients to suicide at a time when the virus was doing very little harm to them. I have always thought of them as having been killed by a metaphor, by the burden of secrecy and shame associated with the disease.
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I was already writing 'The Lost Symbol' when I started to realize 'The Da Vinci Code' would be big. The thing that happened to me and must happen to any writer who's had success is that I temporarily became very self-aware.
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I have always wanted to work with Steven R. Monroe, and when I read his script, I was blown away! I think 'Complacent' hits a nerve that people try so desperately to avoid, which is what I love about Steven's work.
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My first paying job in Los Angeles was taking tickets at the Bing under Ron Haver.
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I have this blanket thing about giving parenting advice to parents, and that's: 'Don't take other people's advice on parenting.'
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Sitcoms are incredibly limiting. When you do a sitcom and it becomes a signature part for you, it's harder to do something else; but if you do a drama, you can get lost in it and have a role to do other things.
