Rita Ora Quotes
When I was younger, I did my first audition at 'Eurovision.' I was about 17. After my first audition, I blacked out; I was just like, 'I can't do this.' I'm not knocking it or anything - it's been around for years. I'm just very, very happy I made that decision myself. I think that's one of the best decisions I've ever made.
Quotes to Explore
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A sack is way better than any nightclub. A touchdown is way better than any bar experience I've ever had.
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I say to my colleagues never confine your best work, your hopes, your dreams, the aspiration of the American people to what will be signed by George W. Bush because that is too limiting a factor.
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The only person I'd cry if I met would be Beyonce.
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I studied the lives of jazz singers who would tour Europe, and... what I learned was life was big ride for them. They'd seen the dark side of humanity... but touring the world playing jazz, it was a truly carefree way of living. A great escapism, if you like.
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The main dangers in this life are the people who want to change everything... or nothing.
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To work hard, to live hard, to die hard, and then go to hell after all would be too damn hard.
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There's a monster outside my room, can I have a glass of water?
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I keep setting the bar higher for myself in terms of what I'm trying to accomplish.
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I'm working on a bunch of things with my daughter Emily. In some ways, she's a smarter and better editor than I am.
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Our country is in deep trouble. To talk and re-litigate in 1998, or even what Mitt Romney said or didn't say in 1994 or 2002, I don't think most people really care.
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I'm more comfortable revealing myself than hiding behind metaphors. I respond to artists who reveal something of themselves.
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Speaking purely from a musical standpoint, I think I am a great performer.
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Laws and customs may be creative of vice; and should be therefore perpetually under process of observation and correction: but laws and customs cannot be creative of virtue: they may encourage and help to preserve it; but they cannot originate it.
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One always tends to overpraise a long book, because one has got through it.
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I think that's a great opportunity, to pick a script where you can build up a good skill. I think the main thing I look for when I look at scripts is if it's inspirational. If it's something that teenagers can relate to. And is it something that the audience is going to get something out of. If not, then it's really not worth doing.
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Not every song has to be about love and tenderness, sometimes you have those strictly physical feelings for somebody and it's okay to have those feelings.
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A lack of transparency results in distrust and a deep sense of insecurity.
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Whatever you think of Trump, I think most people would agree he is impulsive, and we certainly have an impulsive leader in North Korea in Kim Jong-un. That's an unholy combination.
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Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.
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One of the remarkable things about slums is that they do develop their own social organization and economy and even culture that is, on some level, functional and in some cases, remarkably resilient. This is kind of amazing.
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During the engagement I tried to throw a strong force through the canon, but I was obliged to use it elsewhere before it had gotten to the supposed location of the village.
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I try to do everything to say, 'OK, will my mother like this? Will she be pleased? Will she be proud of that? How do I know she's happy and she's smiling down at me from heaven?' And that's what I try to go by and walk by.
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When I was younger, I did my first audition at 'Eurovision.' I was about 17. After my first audition, I blacked out; I was just like, 'I can't do this.' I'm not knocking it or anything - it's been around for years. I'm just very, very happy I made that decision myself. I think that's one of the best decisions I've ever made.
