Adam Scott Quotes
Quotes to Explore
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I promised my mom that if, after a year of putting 150 percent into my career it didn't work out, I would go back to school. I never did go back.
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I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity.
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I feel a strong affinity to Ke$ha and Katy Perry and a lot of these women who are really pushing the girl power femme fatale thing. It's fun, and it's unapologetic, and they tell women they can do whatever they want, and that's true, and that's a message that I want to carry, to tell girls they can do whatever they want.
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As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
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There are programs that don't work.
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When you spend a lot of money on one player, you want him to prove himself, but the way football works, one day you can be good, the next you can be bad, and the next after that, you can be very bad. I have come to Manchester City to work very hard and to help my friends make Manchester City great.
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Few enterprises of great labor or hazard would be undertaken if we had not the power of magnifying the advantages we expect from them.
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I still sweat bullets if I go on The Tonight Show, but I tell myself, You can either have fun tonight or you can be shy and miserable. You ask my friends or anyone I work with now - nobody would say I was shy.
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I don't believe in a lot of schmoozing and buttering up. Not that you don't become friends in work. But I think it's a misconception that you have to do a lot of hanging before you work.
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I wanted to work with Bryan Singer because I like his films.
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Some kids spent their allowance going to see 'Indiana Jones and the Temple of Doom'; I spent mine on a great-looking lamp I'd found at the flea market and a ceramic bowl from a neighborhood garage sale.
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I never really grasped how big it was when I initially got 'Alexander'; I thought, 'Ooh, this is exciting,' but after I got home, I looked back and thought, 'That was an incredible experience.' I got to work with some massive names in Hollywood, and I learnt so much, and then it really kind of struck me how life-changing it was.
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When you look at the team that Jimmy Rutherford has put together and the players that he has, this is just a great story of excellent in professional sports.
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Right now I am trying to be in a place of calm, a place where I can chill out and then handle the chaos of life better. You don't just get it overnight; you have to work at it. It's a daily struggle.
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In all my characters, I try to find an iota of myself, and in Castle, I found a lot. He gets away with a lot, so that's fun.
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Character is the indelible mark that determines the only true value of all people and all their work.
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Art, whatever form it takes, requires hard work, craftsmanship and creativity. As a writer, I know my grammar, cadence, the music of prose, and the art of the narrative.
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I would really love to work with Clint Eastwood.
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In 2008, I just decided that there will come a time when I am dead and gone, and I only have a body of work to show. That was when I did films like 'Last Lear' and Deepa Mehta's 'Heaven On Earth.' They were serious roles.
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I'm sure a lot of players say it, but winning is almost so you don't lose. The thrill of winning is not as great as the pain of losing.
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My mother's brother became the undersecretary of the interior for Nixon, which did cause a little drama in my family because I was going to riots and everything, but he turned out great and gave us a nice cheque for an AIDS benefit we had for the 'Serial Mom' premiere.
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With experience, you suddenly realise you know how to do things or that you've done something like this before. And I think as you get more confident, you can sit back and try and weigh up the options of doing something or not doing something.
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Still, the change is nearly indescribable - going from total obscurity to walking down a street in New York and having everybody turn and look; to feel the temperature of a room change when I walked in.
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Amy Adams was great to work with, fun and lovely.
