A two-parent family based on love and commitment can be a wonderful thing, but historically speaking the "two-parent paradigm" has left an extraordinary amount of room for economic inequality, violence and male dominance.
I wasn't prepared for this big room with clattering typewriters and teletype printers. You could hardly hear yourself think.
When you write the script, you're home in a room by yourself, and you're writing, and there's no connection with the real performing world. So you get a lot of things wrong and make a lot of mistakes and make a lot of bad choices.
I have never taken the high road, but I tell other people to 'cause then there's more room for me on the low road.
When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.
Mobile is important, and coming faster than most people in this room realize.
When you venture at life with curiosity, you can learn from anything. You learn from things that you could never maybe thought you could learn from. And when you actually step into the room with a lot of people who have an education in a classroom, that is very similar to other people's educations, you'll actually come with a unique perspective that could be a valuable perspective that creates an innovation that could change the world.
We have plenty of room for people...in our lives, I mean. Especially the ones who make us be the people we want to be.
Depression is such a cruel punishment. There are no fevers, no rashes, no blood tests to send people scurrying in concern. Just the slow erosion of the self, as insidious as any cancer. And, like cancer, it is essentially a solitary experience. A room in hell with only your name on the door.
You can't keep wanting to be 20 years old. Everybody knows that, but what's in the next room?
I try not to write songs. I would rather emote them, and I found myself going back to my room every night while on my trip, just pouring out new songs and new stories about what I was seeing, what I was feeling.
The narrative for girls is that you just hang around and wait to be "chosen" and then you belong to somebody and you live happily ever after. There isn't room for more nuanced concerns about the creepy proprietary nature of that relationship model, or the breadth of what fulfillment really means for women.
To have a friend and a comrade as your co-star, especially in a romantic comedy, is really important. It gives you the room. It's easier to give yourself and the other person permission to play.
I'm a huge lover of going to the theater and having that experience of people in the room. Any time you go to an experience like this, you hear it in a different way because sound systems are different.
Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.
Taboos are always going to be interesting.Our [ with Michael Dumontier] style has its range and there is room for explicitness in violence, but not at the expense of our classy, highbrow image.
I was asked by an NPR reporter once, why don't I talk about race that often. I said it's because I'm a neurosurgeon. And she thought that was a strange response. And you say - I said, you see, when I take someone to the operating room, I'm actually operating on the thing that makes them who they are. The skin doesn't make them who they are.
From when I was born, my dad would dance with me in his arms, and I would watch my siblings dancing around in the living room. I just grew up with that. That was just my life.
When you work in front of the people, either in a film or in television, the people who are in the room with you are not watching you work, they're working so you'd have to light a fire to get them to watch what you were doing.
Sometimes you'll see interviews about an actor who was asked to hit the weight room to develop his body for the character, and you hear them complaining about the egg white omelettes they had to eat and the tortures of hitting the gym twice a day - I find that to be a bit saddening, it's all a part of becoming the character and as an actor, that is your job.
How could you not learn from Cher with her work ethic and the way she commands attention when she walks into a room, but exudes such peaceful tranquility and love for everyone. She just makes you feel warm and welcome and more inspired to do a better job because you want to step up to the plate.
I realize that I want something more. Success is great, but then you also wake up in your hotel room at four in the morning and you're like, wouldn't it be nice to have someone here with me.
I looked at the 1950 animated film [Cinderella], I read a couple of editions of the fairy tale that I have in my house and all of it seemed to say that there was room for a version that delivered, in this story, which seems to invite a feeling in people and I think that is some version of a classical world.
You have two types of writers: one like Proust who was locked in his room and wrote the masterpiece. And the other type was Hemingway who celebrated life and also wrote a masterpiece.
It wasn't really until after I got out of art school that I realized that I'd been doing that sort of for the audience, for that context. Somehow, being alone in the room, it made no sense at all to make those kinds of paintings.
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