Eighty percent of love is smell.
When I worked with wildlife a lot in the Eighties and Nineties, I learnt the meaning of patience. And when I worked with trees, I learned the meaning of humility.
The appetizer is just an excuse for an extra meal. Let's see, I will start with the eighty buffalo wings.
Eighty percent of global warming is the result of man's wrongful use of the resources of the planet and the dumping of millions upon millions of tons of nuclear and other waste in the world, creating great toxic areas all over our skies, our oceans, our rivers, and the earth.
I don't want to use quotation marks anymore, I've gone back and forth with them. In Ghosts, I didn't use them, for instance, all the way back in the early eighties.
Even though I was chronologically 21, I was pretty immature and naive for my age, having grown up in a small, isolated ranching town, eighty desolate miles from the nearest city, and back when there was much less cultural homogenisation by way of TV.
Towards the end of the seventies pop was gaining the momentum and respectability was very high with groups like Yes and Queen who were making "classical" rock records. They were also bringing in big bucks. So the eighties became the "bottom line" decade.
The eighties turned the whole system upside down. They would sign three groups and give them five or ten million dollars each to make three records. Out of those three records maybe one would be a hit. The economy changed, and that's why the music changed.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
Some police forces would believe anything. Not the Metropolitan police, though. The Met was the hardest, most cynically pragmatic, most stubbornly down-to-earth police force in Britain. It would take a lot to faze a copper from the Met. It would take, for example, a huge, battered car that was nothing more nor less than a fireball, a blazing, roaring, twisted metal lemon from Hell, driven by a grinning lunatic in sunglasses, sitting amid the flames, trailing thick black smoke, coming straight at them through the lashing rain and wind at eighty miles an hour.That would do it every time.
That's one of the challenges of acting. You can't expect that you're going to be successful, but you've got to put your heart and everything you have into it. Look at a guy like Ian McKellen, who is eighty or whatever, and he's just loving his work and you can see that in the work. That defines what type of actor you are. And what kind of people want to work with you. And whether you can do this job for a long, long time.
When I first came to Washington in the 1960s, even at the height of the Vietnam War, until the end there in '68 there was a certain climate of cooperation. And then in the late sixties and in through the seventies, politics began getting more mean. And then from the eighties on it seemed to be institutionalized, this personal attack business. And I just hate it.
Howard Chaykin was one of the few who dared to make mainstream comics different back in the eighties; it was guys like him, Alan Moore and Frank Miller who made sure there'd be no going back. Howard's work on The Shadow is amongst his very best: razor-sharp character work, sizzling dialogue and an unsurpassed sense of layout and design.
Eighty to 90 percent of success in a company has nothing to do with business at all - it's all personal.
I was throwing a lot harder than I ever have at the end of last year. I got to ninety-five (mph) a couple of times in the World Series and I'm more of an eighty-eight or eighty-nine guy who relies on location and movement.
Winning the Pritzker assures a flood of work in one's seventies and eighties, jobs necessarily carried out by assistants as the demands of modern-day cultural stardom and the inevitable waning of physical capacities prevent many architects from attaining the transcendent final phase more easily achieved by artists in other mediums.
No travel ban or quarantine will seal a country completely. Even if travel could be reduced by eighty per cent-itself a feat-models predict that new transmissions would be delayed only a few weeks. Worse, it would only drive an increase in the number of cases at the source. Health-care workers who have fallen ill would not be able to get out for treatment, and the international health personnel needed to quell the outbreak would no longer be able to go in.
My theory is that when you're young, you should work eighty hours a week to create a product or service that changes the world.
The sum of the whole is this: walk and be happy, walk and be healthy. "The best of all ways to lengthen our days" is not, as Mr. Thomas Moore has it, "to steal a few hours from night, my love;" but, with leave be it spoken, to walk steadily and with a purpose. The wandering man knows of certain ancients, far gone in years, who have staved off infirmities and dissolution by earnest walking,-hale fellows close upon eighty and ninety, but brisk as boys.
In my eighties, my best friends are in their fifties, and I have many friends at university. It keeps one young, and up with the vocabulary. That's terribly important, especially for a writer.
It heartens me to think of Verdi who composed thundering operas in his eighties; Michelangelo who did fine work in his ninetieth year, and Titian, who painted better than ever in his one hundredth.
Development can indeed continue beyond childhood and youth, beyond the seventies. It can continue until the very end of life, given purposes that challenge and use our human abilities. . . . In sum, our development does not necessarily end at any age. We can continue to develop into our eighties, even to our nineties.
A split second is nothing compared to twenty-four hours. On God's clock you're in the middle of your millisecond. Compared to eternity, what is seventy, eighty, ninety years?
Hitler's dictatorship differed in one fundamental point from all its predecessors in history. His was the first dictatorship in the present period of technical development, a dictatorship which made complete use of all technical means for the domination of its own country. Through technical means like the radio and the loud-speaker, eighty million people were deprived of independent thought. It was thereby possible to subject them to the will of one man.
I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
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