Quotes About Sometimes

Sometimes when you win, you really lose. And sometimes when you lose, you really win. And sometimes when you win or lose, you actually tie. And sometimes when you tie, you actually win or lose. Winning or losing is all one organic mechanism, from which one extracts what one needs.

My senses of space, of distance, and of direction entirely vanished. When I looked for the ground I sometimes looked down, sometimes up, sometimes left, sometimes right. I thought I was very high up when I would suddenly be thown to earth in a near vertical spin. I thought I was very low to the ground and I was pulled up to 3,000 feet in two minutes by the 500-horsepower motor. It danced, it pushed, it tossed. . . . Ah! la la!

You want to make a little money, and sometimes you want to play some really great parts. Sometimes they don't always coincide, or co-exist. Sometimes you've got to do good parts for no money and... You know, I sometimes can't do movies just for the money. I really can't. I mean, I've tried. Believe me, I'd love to just take the money and run. That might just be part of the equation, but there has to be something there. You have to be somewhat creatively satisfied.

The power of transgression is the archetypal, foundational story of the Bible. We want to break our own codes - sometimes of morality, sometimes of ethics, sometimes of the power structure, sometimes of the institution of marriage - because there is freedom and power in transgression.

The accidents of my life have given me the ability to make stories in which different parts of the world are brought together, sometimes harmoniously, sometimes in conflict, and sometimes both - usually both. The difficulty in these stories is that if you write about everywhere you can end up writing about nowhere.

Success has many ways of coming to you. Sometimes it comes right away, and then the film's instantly forgotten. Sometimes you can't remember what won the Academy Award for best picture, and then you can remember the one that didn't. And then sometimes in the afterlife, films that were not successful at all become these giant successes.

It`s the nature of cable news that we [TV hosts] do a lot of clipping and quoting of other broadcasts and outlets, sometimes to make a narrative point, sometimes to make a political one, and sometimes just to make a joke.

I like Bret Easton Ellis' sense of humor. I feel like mine is sometimes similar to his. And how his characters sometimes seem really confused in a humorous manner. I like that. And I have that sometimes in my characters.

Sometimes my poetry is an attempt to keep off existential terror; sometimes it is a grappling with philosophical problems; sometimes just fun.

There are all kinds of darkness, and all kinds of things can be found in them, imprisoned, banished, lost or hidden. Sometimes they escape. Sometimes they simply fall out. Sometimes they just can't take it any more.

Sometimes the parallels that are brought in can make the play seem less relevant; you can deny a play's application to the universal by making it too specific. Sometimes having a modern context does make things easier to grasp; sometimes, you go, "Why have they got swords?" "Why didn't Juliet just text Romeo? Why did she bother posting a letter? Why was the Milan post service so bad?" It throws up irrelevant questions that don't help.

I think there’s a lot of threshold weeping. Like, am I doing this? Am I really wearing this out in the world? My daughter is very much like that. She will put clothes on and her clothes just make her beside herself. They make her so sad sometimes. And you do realize you feel betrayed sometimes by your own clothing. You put something on that usually protects you and makes you OK, and sometimes you’re just not fit for the world and even your best pants can’t overcome that feeling for you.

I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.

The world was full of beauty. She wanted to grab hold of it and take it down into her bones. Yet always it seemed beyond her grasp. Sometimes only by a little, like now. The thinnest membrane. Usually, though, by miles. She couldn’t expect to be that kind of happy all the time. She knew that. But sometimes you could. Sometimes you should be allowed a tiny bit of joy that should stay with you for more than five minutes. That wasn’t too much to ask. To have a moment like this, and be able to hold on to it. To cross that membrane, and feel alive.

Every song is completely different. Sometimes they come like a lump of clay and it's your job to chip away and find out what's in the center. Sometimes it comes like swimming fish, and you have to follow it and see where it leads. Sometimes it comes totally fragmented.

Cedars are terribly sensitive to change of time and light - sometimes they are bluish cold-green, then they turn yellow warm-green - sometimes their boughs flop heavy and sometimes float, then they are fairy as ferns and then they droop, heavy as heartaches.

Sometimes you want to run away Sometimes you think you do But you never had a dream like this before And you don't want to ask for more Sometimes you leave a mark Before you know the score

But most of all, I like to watch people. Sometimes I ride the subway all day and look at them and listen to them. I just want to figure out who they are and what they want and where they are going. Sometimes I even go to Fun parks and ride in the jet cars when they race on the edge of town at midnight and the police don't care as long as they're insured. As long as everyone has ten thousand insurance everyone's happy. Sometimes I sneak around and listen in subways. Or I listen at soda fountains, and do you know what? People don't talk about anything.

Sometimes I highjack memories. Sometimes I switch them around. Sometimes they're just in the background, like some little bass note. Those things have carried me through, especially when I first started writing. They're still there, but more in the distance these days.

I think, as we go through life, we can sometimes, while still staying essentially true to ourselves, pick up mannerisms or modes of expression that are like curlicues. And there was a lot of that that I recognized sometimes. And I remembered, sometimes dimly, why those phrases felt so tasty to me, why that particular curl felt so good to me. But from my point of view now, it was almost inaccurate. It changed the meaning of what I was saying in a way that it seemed like a distortion.

Sometimes they're nothing, sometimes they're something, sometimes there's a connection that years later may show up. All of this information is useful.

We don't always possess faith in the sense of having a clear embodiment of something to hang on to. The relationship between the intellect and faith is a very curious one. Sometimes the intellect can point us to faith, sometimes the intellect can stand in the way of faith. Sometimes, as St John of the Cross points out, we have to darken or blind the intellect in order to have faith.

Afterward, Isabel drove me home and I shut myself in the study with Rilke, and I read and I wanted. And leaving you (there arent words to untangle it) Your life, fearful and immense and blossoming, So that, sometimes frustrated, and sometimes understanding Your life is sometimes a stone in you, and then, a star I was beginning to undertand poetry.

When people say England, they sometimes mean Great Britain, sometimes the United Kingdom, sometimes the British Isles, - but never England.

The one thing we can all relate to is family, and family has its traumas sometimes. Sometimes things don't go well for people. Sometimes things are tough. So everybody kind of knows someone who's been in this situation before, and I think that's what makes it work.

I really like the interplay between thinking of text as ephemeral and thinking of it as a concrete, physical thing. With almost anything that I write, I'll stay completely immersed in the electronic text of it for a period of time and in another period, I'll stay immersed in it as a physical thing that can cut your skin. So with the apocalypses, I had them taped all over the wall and they had codes on them. Sometimes I would color code them in terms of thematic elements, sometimes in terms of voice, sometimes visual forms or images.

The imagination doesn't crop annually like a reliable fruit tree. The writer has to gather whatever's there: sometimes too much, sometimes too little, sometimes nothing at all. And in the years of glut there is always a slatted wooden tray in some cool, dark attic, which the writer nervously visits from time to time; and yes, oh dear, while he's been hard at work downstairs, up in the attic there are puckering skins, warning spots, a sudden brown collapse and the sprouting of snowflakes. What can he do about it?

Sometimes you do a film because the script is amazing, sometimes you do it because you get to work with amazing people, and sometimes you do a film because they pay you money.

Sometimes your personal life is much more significant. Sometimes your work life is more significant. Friends and family, or sometimes the general population, take precedence.

Sometimes I feel like a Buddhist and I need to chant; sometimes a Baptist and I need to holler and shout; and sometimes I need to be a Catholic and need to purge my sins and confess. It just depends on where I am.

Sometimes not honoring your character makes for really good television, but that also can really upset fans. You have to turn things upside sometimes. As a storyteller, you have to know that sometimes you're going to let your fans and the audience down because you have to do your part in servicing the story.

There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.

I think, sometimes, artists release music too fast. If you just sit back and listen to the track for a little bit you could pick and choose how you want to do it and see if you really feel the song, because sometimes you might not even like the song after a few listens.

What's a dancer's worst enemy? Sometimes it's age, but sometimes it's the dancer themselves.

Narrative should flow as flows the brook down through the hills and the leafy woodlands...a brook that never goes straight for a minute, but goes and goes briskly, sometimes ungrammatically, and sometimes fetching a horseshoe of ¾ of a mile around and at the end of the circuit flowing within a yard of the path that it traversed an hour before; but always going and always following at least one law, always loyal to that law, the law of narrative, which has no law. Nothing to do but make the trip; the how of it is not important, so that the trip is made.

Most things will be okay eventually, but not everything will be. Sometimes you'll put up a good fight and lose. Sometimes you'll hold on really hard and realize there is no choice but to let go. Acceptance is a small, quiet room.

It is through history that we learn who we are and how we got that way, why and how we changed, why the good sometimes prevailed and sometimes did not.

Comedy, sometimes if you think about it too much then it becomes a bit boring. If you start thinking about striking the right balance sometimes it takes the spontaneity out of it.

Sometimes altering your position is the right thing. Sometimes it's not.

Sometimes it isn't easy to be sane, smart, and responsible. Sometimes it sucks. Sucks wang. Camel wang. But that doesn't turn wrong into right or stupid into smart.

I cannot remember a time when I was not enraptured or tortured by words. Always there have been words which, sometimes for their sound alone, sometimes for their sound and sense, I would not use. From a loathing of their grossness or sickliness, their weight or want of weight. Their inexactitude, their feeling of acidity or insipidity. Their action, not only on the intelligence but on the nerves, was instant.

For me, the best journalism is usually the best storytelling, and the best stories are those of real people. Sometimes those real people are people in positions of great prominence or power or adverse situations, and sometimes it's just normal folks who help illuminate a situation, a place, a culture. And for me, that's always been the best way of telling a story.

I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.

I show up in my writing room at approximately 10 A.M. every morning without fail. Sometimes my muse sees fit to join me there and sometimes she doesn't, but she always knows where I'll be. She doesn't need to go hunting in the taverns or on the beach or drag the boulevard looking for me.

A comedian is sort of like a wild animal. It really just depends on where you catch them. Sometimes they want to cuddle up, and sometimes they'll snap at you. But for me, more often than not, if I'm talking to somebody who makes their living in comedy, it'll be a very thoughtful conversation driven from an emotionally honest place.

Sometimes it takes more courage not to let yourself see. Sometimes knowledge is damaging - not enlightenment but enleadenment. If one recognizes the difference and prepares oneself - it is extraordinarily brave. Because when it comes to certain human miseries, the only witnesses should be the pavement and maybe the trees. (Gareth van Meer)

Life is work, and everything you do is so much more experience. Sometimes you work for wages, sometimes not, but what does anybody make but a living? And whatever you have you must either use or lose.

Sometimes you find your voice by trying to write like people, and sometimes you find it by trying to write unlike people.