Kevin Harvick Quotes
Quotes to Explore
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Sometimes what I think what the news is missing is the human element, the connection - the moment that you look into a little girl's eyes or a father who has just left his family and risked everything just to try and survive.
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I actually buy the paper version of The New York Times maybe once or twice a week.
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When friends ask for a second cup they are open to conversation.
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Mr. President, it may surprise my colleagues, but I am no fan of federal disaster programs for agriculture. They are difficult to pass and often a disaster to implement.
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I can see through almost any scam, especially one perpetrated by the federal government. I can see through it... they can't pull the wool over my eyes, it's absolutely freakin' impossible to pull the wool over my eyes about the government.
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If we want to impact hundreds - or millions - of people, we have to do things differently. If we look at the problem as an infrastructural problem, we cannot make an impact because it requires a lot of effort. But when we convert this problem into a knowledge problem, suddenly the problem is manageable.
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In my district, I know we have thousands of little creeks and streams, some of which only fill up when it rains. Nationwide, they're in the tens of thousands.
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All day long the door of the sub-conscious remains just ajar; we slip through to the other side, and return again, as easily and secretly as a cat.
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E-mail, when it became mobile - what happened? Utilization of email went through the roof. Just pure Internet access and data - what happens when you mobilize it? Multiples. People are dependent upon broadband and as you mobilize it, they become even more dependent on broadband.
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It was an outdoor Shakespeare theater that I grew up at. That feels like home, and the place I'm always trying to figure out how to get to.
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I'm determined not to start dressing like I'm 45 years old now that I'm a mum.
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My prayer became 'May I find peace... May I love this life no matter what.' I was seeking an inner refuge, an experience of presence and wholeness that could carry me through whatever losses might come.
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Courage is like love; it must have hope for nourishment.
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I used to play shows in D.C. and then drive back to New York to work at 6 A.M. So there are those moments, and you just really need to power through them. Eventually, it builds on itself.
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What I think happens today is that a lot of filmmakers look at other films that are retro pieces, like L.A. Confidential, and say, oh, that's period. We didn't want to do the stereotypical stuff.
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The Comprehensive Nuclear Test Ban Treaty, which in 1996 set out to ban nuclear tests, is an important step, but we need to do more - and we can.
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I'm shocked at being recognized. You go to places you don't think you would be and still, you are. Taxi drivers often recognise me... but I haven't got a free ride yet.
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It's one thing to plan and imagine what you want on a film, but when you actually arrive and survey the scene, there's a moment of, 'Oh my God, what was I thinking?'
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I'm not sure I can write about America for the same reason I'm not sure I can write about adults - I have no critical distance on either place.
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The camera is my tool. Through it I give a reason to everything around me.
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The artist must be like a heart surgeon. He must approach something with sympathy, but with a sort of coldness and work and work until he finds some kind of perfection in his work. You can't have blood splashing all over the place. Things must be done very cleanly.
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I remember being told by my very first photographer that if I lost weight, and I was a skinny model, it would do wonders for my career. My mum got really defensive - 'I don't think we will be doing that, thank you so much, goodbye.'
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You always want to win.
