I think playing any iconic role when you're stepping into big shoes, into the shadow of people who have come before you and you can't process that.
Popular music had never had lyrical sophistication of this type [like Bob Dylan]; wit, to be sure, but "Darkness at the break of noon/Shadows even the silver spoon/The handmade blade, the child's balloon/Eclipses both the sun and moon/To understand you know too soon/ There is no sense in trying"? No.
Shadows are falling and I've been here all day/It's too hot to sleep, time is running away/Feel like my soul has turned into steel/I've still got the scars that the sun didn't heal.
I want to get everybody out of the shadows, get the economy working, and not let employers like Donald Trump exploit undocumented workers, which hurts them, but also hurts American workers.
Everywhere we look we see the encroaching shadow of the police state.
Donald Trump's a bigot without a shadow of a doubt.
That's the storyboard that we have in the beginning [of Valerian]. It's an easy shot. It's just a spaceship coming in. That's the first layout. On the first layout, we see the timing of the shot and the speed. It starts to get some shadows, and we see that everything is moving in the back.
I think that's probably the most devastating thing - when someone who is larger than life winds up a shadow of themselves in a hospital bed.
Now the roles have been reversed, because the Hillary [Clinton] campaign is livid that they lost, and they think they lost because [Donald] Trump sent out bird whistles, dog whistles, whatever, to the white supremacists out there, and the white supremacists are the ones that came out of the shadows, not the illegal immigrants, the white supremacists came out of the shadows and they got their hoses and they got their whatever else and they started beating up on Democrats and poor Hillary.
It's so easy to find someone who would walk around me like a shadow and do everything for me and never be tempted by other men, so obviously I'm not attracted by that type.
Emil Nava brother is Jake Nava, who did Beyonce's Crazy In Love and stuff. He's always lived in his brother's shadow, and this is the first time that he's just killing sh*t. I'm really just happy that he's on top and really doing well.
If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.
I want people to understand that this is a very calibrated image [Portrait of the Artist as a Shadow of His Former Self ], where point by point, very little is left to chance.
My grandmother's grandparents were slaves. My grandmother Big Mama would tell me about the stories she heard as a child growing up in the shadows of a North Carolina plantation. It's only been in my lifetime that blacks have had the right to vote, live in certain areas or hold certain jobs. It is with this black history that I write about the financial challenges African-Americans still have.
It's sad that as crushed Millennials we live in the shadow of our parents, our fathers. We aren't willing to murder our government. It's like, come on, why is this scary? Jesus, every generation before you was willing to kick ass.
There are things that are shadow sides of the creative energy that are negative and all that kind of stuff. The only thing that I say to myself is, in the spirit of that quote from the Gnostic Gospels: Writing is a way to let all that stuff out into the sun.
Great groups give the lie to the remarkably persistent but incorrect notion that successful organizations are the lengthened shadow of a great woman or man. However, each great group has a strong leader. In fact, great groups and great leaders create each other.
The film [Payback: Debt and the Shadow Side of Wealth] opens with an Albanian blood feud and goes on to delve into, for instance, prison systems, underpaid tomato pickers, the gulf oil spill. It's all woven together in a sensuous, oblique way that's not the same as the single-message kind of documentary we're used to, with an "answer" at the end. It's more like an exploration. Sort of like what you do with Birth of a Nation.
I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker!
I need sometimes to hang back in the shadows with my pen and paper, and then other times, I need to take center stage in my own creations. The trick is to know when to hang back, and when to step forward. It's a perpetual ongoing balance.
Even though I walk through the valley of the shadow of death, I will fear no evil.
Light in the heart has an interesting phenomenon. When you look at this world from here, now, light has shadows because light comes from a source. But, the same light inside the heart, which I've spent so much time looking at and so have other people, has no shadow because the light appears to come from everywhere.
If I am acting out in any particular way that is harmful to myself - without a shadow of doubt, there is a feeling suppressed under wanting that second candy bar. Often, it is that little voice I haven't paid attention to. It's generally not the adult voice. If I take a moment to address that and figure out what that is, the desire for the candy bar seems to dissipate.
You can't anticipate history. It's only when you look back you see what the Romans did, and what various other empires did, what the British Empire did. We're now beginning to see the long shadow that it created, so one must be hopeful and say that what's going on in Asia, that what's going on in the Middle East, that all these various areas of conflict, that they will pass and move onto another area. But it would seem that the natural order of things is there is this cyclic behavior of destruction followed by a calm period.
In a way, America's the shadow of everything I do, everywhere I go, everything I carry, no matter if I travel to the ends of the earth. And I live frequently on the spine of the continent, near the Great Divide. Then there's the side of it being the real energy center for a truly post-postmodernist poetry mind, which is also archaic, because we can still be close to the land.
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