Adam Schlesinger Quotes
Quotes to Explore
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When I produce a movie - and I've produced a number of movies, unlike Arnold - yes, I'm frustrated when the union says you can't do this, you can't work past that hour, you've got to break for lunch. But ultimately, they're right. What they do is for everyone's benefit.
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I've dealt with a lot of couples over the years, and most cite the battle for closet and bathroom space as one of the most frequent causes of marital discord.
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We shall heal our wounds, collect our dead and continue fighting.
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When you do something with a lot of honesty, appetite and commitment, the input reflects in the output.
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Siva is one of the best writers in the industry, and 'Srimanthudu' is a great script.
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As you get older you play in more important games and that is when you start thinking about what will happen if you win or lose.
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I decline the election. - It has ever been my rule through life, to observe a proportion between my efforts and my objects. I have never been remarkable for a bold, active, and sanguine pursuit of advantages that are personal to myself.
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I had a barbecue stain on my white T-shirt.She was killin' me in that mini-skirt.Skipping rocks on the river by the railroad tracks.She had a suntan line and red lipstick.I work so hard for that first kiss and a heart don't forget, something like that.
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When I was born, that was the music my mother was listening to. Michael Jackson is a third parent to me.
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What this denomination stands for is, really, is the universal vision of all people being treated fairly under the law as God sees us in His sight.
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I would be very uncomfortable doing a safe part. It would make me think something is wrong.
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Confidence and a good sense of humor can usually win a chick over.
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I encourage girls to lean in, use your brain, get in there, get in the conversation.
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I think the government has to reposition environment on top of their national and international priorities.
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I don't like to watch myself. For the most part, I find it weird. It depresses me; I'm very critical.
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We always thought it strange that nobody was up on that stage playing soul stuff. Maybe people were playing it in their garages, like us, but they always reverted to pure rock when they got on stage.
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Before I came to Italy to play for Milan in 2007, I saw in the papers that my name was mentioned in connection with some English clubs.
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I knew nothing about film at all. I suppose the biggest surprise is all these things. In the theatre we sort of do, I might do two or three key interviews and that would be it.
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What I like so much about Corot is that he can say everything with a bit of tree; and it was Corot himself that I found [back] in the museum of Naples - in the simplicity of the work of Pompeii and the Egyptians. These priestesses in their silver-grey tunics are just like Corot's nymphs.
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A lot of comedians do bits where they say, 'I was listening to this song, and this person said this, and you know how they say that?' And I thought it would work better if I actually had a DJ put that song lyric right there. It makes it more dynamic, and it's more energetic.
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I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.
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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 tour all year, 42 weeks a year, so it's hard for me to remember every place I play.
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I usually start with a lyric and see where that takes me.