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.

Sometimes I do yoga, sometimes it's kickboxing, sometimes it's weight training, sometimes it's Pilates.

Everybody feels up sometimes, they feel down sometimes, sometimes they feel sideways, sometimes they feel weird.

Sometimes tradition and habit are just that, comfortable excuses to leave things be, even when they are unjust and unworthy. Sometimes--not often, but sometimes--the cranks and radicals turn out to be right. Sometimes Everyone is wrong.

Sciences usually advances by a succession of small steps, through a fog in which even the most keen-sighted explorer can seldom see more than a few paces ahead. Occasionally the fog lifts, an eminence is gained, and a wider stretch of territory can be surveyed-sometimes with startling results. A whole science may then seem to undergo a kaleidoscopic rearrangement, fragments of knowledge sometimes being found to fit together in a hitherto unsuspected manner. Sometimes the shock of readjustment may spread to other sciences; sometimes it may divert the whole current of human thought.

That's our job as artists is to be honest about what we're feeling. And what we're feeling is not always going to be perfect. Sometimes it's going to be controversial. Sometimes it's going to piss a couple of people off. Sometimes it's going to motivate people. Sometimes it's going to inspire.

Small groups have always been the locus of change. What they do, in a sometimes offhand way, is constellate new cultural forms and give birth to the unexpected. Sometimes the talk is the thing, sometimes the feeling. When we risk talking about something we really care about it's infectious. Like any good infection, such talk can produce heat, a fever of intellectual excitement.

When we seek daily spiritual guidance, we are guided toward the next step forward for our art. Sometimes the step is very small. Sometimes the step is, "Wait. Not now." Sometimes the step is, "Work on something else for a while." When we are open to Divine Guidance, we will receive it. It will come to us as the hunch, the inkling, the itch. It will come to us as timely conversations with others. It will come to us in many ways--but it will come.

I'm just trying to do whatever is asked of me. I've been thrown into many different positions. Sometimes I'm on the left. Sometimes I'm in the middle. Sometimes I'm up top. So you always have to be prepared. I'm learning a lot so hopefully I can keep getting better and better.

We use improv in all kinds of fun ways. Sometimes it's to invent or discover new things, sometimes it's to weird out the other actors, and sometimes it's to create a sense of fun, to find new things inside the scripted lines.

I work sometimes from outlines, which are immediately abandoned. Sometimes, when I'm trying to find the characters, I'll sketch things out a bit. Sometimes, outlines help me aim a little bit, but I tend to find it's usually much more interesting, especially with the first draft, to spew it onto the page. I used to get very nervous that, if I write this first rough draft and I die that night, whoever finds it might think that I thought it was good. For me, it's much more important to get some general shape onto the page and later take all the time I need to refine it, fix it, and rewrite it.

I try to love my neighbor as myself but I'm not trying to be a people pleaser. Sometimes that's hard, because my human nature is to want people to be happy with me. But sometimes I feel my convictions are so great that it would be compromising the truth if I didn't do that. So sometimes it's a struggle to say, "This is what I think; this is what I believe, and if you don't agree with me, oh well." The hardest thing for people to accept is the gay-affirming issue. It's hard for people to agree to disagree on that one.

Sometimes you like the personal adventure implicit in the making of a film, and sometimes you like your part in a film, and sometimes you like the final result.

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.

What you take to be hyprocrisy is sometimes a certain caution, sometimes genuine, though ponderous, childish, sometimes a mixture of both.

For most problems found in mathematics textbooks, mathematical reasoning is quite useful. But how often do people find textbook problems in real life? At work or in daily life, factors other than strict reasoning are often more important. Sometimes intuition and instinct provide better guides; sometimes computer simulations are more convenient or more reliable; sometimes rules of thumb or back-of-the-envelope estimates are all that is needed.

Every work is completely different. Sometimes the music is first, sometimes it's parallel, and sometimes the music is after. There's no rule. Music goes differently to your emotions. With music you can create different spaces and feelings easier than you can with the visual - maybe not easier, but in a way, it's more seductive.

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.

The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.

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.

It's tough because sometimes you'll just be on the web and things pop up or you get emailed something from a friend. It is definitely impossible to avoid stuff about me sometimes, but it's pretty important to try. It's very rare that things are true about yourself that are on the Internet. It's just sad sometimes. So you definitely try and stay away from it as much as possible.

I would be lying, however, if I claimed that I could always formulate worthwhile hypotheses on the basis of my theoretical framework. Sometimes there were no reflexive processes to be found; sometimes I failed to find them; and, what was the most painful of all, sometimes I got them wrong. One way or another, I often invested without a worthwhile hypothesis and my activities were not very different from a random walk.

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.

Sometimes skulls are thick. Sometimes hearts are vacant. Sometimes words don't work.

Sometimes I'm an ass, sometimes I'm sweet as peaches.

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

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.

When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.

At the happy ending of the Tempest, Prospero brings the kind back togeter with his son, and finds Miranda's true love and punishes the bad duke and frees Ariel and becomes a duke himself again. Everyone - except Caliban - is happy, and everyone is forgiven, and everyone is fine, and they all sail away on calm seas. Happy endings. That's how it is in Shakespeare. But Shakespeare was wrong. Sometimes there isn't a Prospero to make everything fine again. And sometimes the quality of mercy is strained.

Sometimes things don't turn out the way you want them to, Haven. Sometimes the people you choose to believe are wrong.

Sometimes luck is with you, and sometimes not, but the important thing is to take the dare. Those who climb mountains or raft rivers understand this.

I know what makes me happy. I pick the clothes that make me happy - sometimes people like them, sometimes they don't. I try to listen to my own internal guide.

Leadership is a choice to protect the person to the left of us, and protect the person to the right of us, and sometimes that may come at a cost. It may cost us our benefits, it may cost us our comfort, it may sometimes cost us our perks, whatever it is, credit.

Civil disobedience's main goal typically is to try to arouse and inspire others to join and do something. Well, sometimes that is a good tactic, sometimes not.

Sometimes I can't tell that someone is a selective asshole because they're so nice to me and the people around me that I don't realize it until someone else says, "You know, that person is an asshole." So I'll be fooled by selective assholes sometimes . . . lately.

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.

Punk, and rock in general, is often very myopic. When people sing about "the world," they're generally focused almost entirely on the west and Europe. Sometimes South America. Sometimes Asia. But rarely Africa. The Ex, famously, is one of the few rock acts to travel and perform in Africa which, may be home to more musicians than just about anywhere else in the world.

I might sound like a crazy person, but that's the way I pump myself up. You know how some people are just like 'I have to talk about it'? Sometimes I'll call my husband and we'll talk about it, sometimes I have to talk to myself in the mirror. So I start talking to myself: 'You got this. Don't think of this as Sports Illustrated, just think about this as the best swimsuit campaign you've done in your life. And just kill it and own it and don't put that pressure on yourself.'

Sometimes it’s all you can do,” he murmured. “Fight back; run wild, until you get it all out.” “Sometimes there is nothing to fight and nowhere to run.

Most people think of a feel as when you touch something or someone and what it feels like to your fingers but, a feel can have a thousand different definitions. Sometimes feel is a mental thing. Sometimes feel can happen clear ‘cross the arena. Sort of an invitation from the horse to come to you.

Sometimes you think the movie is good and BOOM! Sometimes you think it's no good. BAAM! The movie business is a big gamble. You never know.

Of course, even if the directors like my ideas or the designs I do, they may end up changing the story so much, that those characters have to change, or get cut out altogether, and that's just the way it is. Sometimes the directors are designers themselves, or they want to work with a character designer who will do things in their own distinct way - sometimes the most important thing I do is figure out what they don't want to do, by experimenting. Either way, whether they use my ideas or not, I get paid, so it's all good.

Sometimes something intrigues me about particular sounds, how they work together, and I think "Okay, I've found something here; I'm going to take it somewhere." And sometimes just to find a name for that sound, whatever it is, ends up becoming a title of the piece or becoming part of the title.

Sometimes I doubt and sometimes I believe. And I like not making myself believe when I am doubting, and not making myself doubt when I am believing. Surely neither God nor Accident need my consistency.

It's a cash and carry world. Sometimes you pay a little. Mostly it's a lot. Sometimes, it's everything you have.

When you're on the set, and sometimes, because it's been so complex and the writers have been really writing, sometimes up until the last minute... And you kind of sit back; you separate yourself from your brain, and you say, let me see if you can do this. And that's the kind of challenge I like.

In life, you learn lessons. And sometimes you learn them the hard way. Sometimes you learn them too late.