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All I Quotes

“I think in some ways people kind of hate it, but most models recognize that it's a pretty easy job to make a lot of money at in a relatively short time, and you get to travel the world and meet a lot of interesting people. There are extreme highs and extreme lows. I think if it were as clear-cut as "models hate it," then they wouldn't do it. I really enjoyed a lot of the actual aspects of it, but not enough to make it my primary job. It can be quite empty, which is why I pursued other things.”

“I think in some ways, I would go back home, and I didn't really quite fit in and couldn't - didn't have a person to bounce those experiences off of. So I felt a little bit trapped within me, and it made me feel lonely because I really couldn't - the things that were exciting to me, I couldn't really share those with another kid and that other kid understand that.”

“I think in terms of being a New Yorker, as my friends would say, I don't take a lot of mess. I have no tolerance for people who are not thinking deeply about things. I have no tolerance for the kind of small talk that people need to fill silence. And I have no tolerance for people not - just not being a part of the world and being in it and trying to change it.”

“I think in terms of getting new artists who are not in that sort of stereotypical teenage boy demographic; there's been a lot of progress recently. And I shouldn't make a definitive statement about this, but my impression is that the main impediment to progress in that regard is the number of people who are choosing to make a go of it.”

“I think in terms of who can be trusted, I think the evidence is clear that there has been no candidate that I have ever seen who lies more often than does Donald Trump. I mean and that's just not me saying it, that's what any independent media analysis has shown. So in terms of trust, you really can't trust a word, I think, that Mr. Trump has to say.”

“I think in that context, when a generation of kids is that ignorant of their recent history, it does a good job of showing what the Pistols were standing for. It's current and it's in the air, partly because I think nothing contemporary is as extreme or as strongly stated as what The Sex Pistols were able to do in their time, in the '70s. I think the reason to [make the film] is that their ideas are still alive: the defense of the right to be an individual, and questioning everything you read, and questioning all the information that's bombarded increasingly at you.”

“I think in the '80s, when I started making films, we were all suspicious of these technologies. We were all convinced they would filter out any emotion and sense of intimacy, and the films I made during that period reflected that. In fact, what has happened is the opposite. I think we're saturated with a degree of intimacy we would never have expected, and we're trying to sort through this idea of complete access to each other's lives on an ongoing basis. Our emotions aren't filtered out at all. They're actually accelerated.”

“I think in the coming decade we will see well-conducted research demonstrating that emotional skills and competencies predict positive outcomes at home with one's family, in school, and at work. The real challenge is to show that emotional intelligence matters over-and-above psychological constructs that have been measured for decades like personality and IQ. I believe that emotional intelligence holds this promise.”

“I think in the context of senior government positions, I think an anecdote of what I told President-Elect Barack Obama when we had our first meeting. And I said, "You don't know me. Can you trust me? Why do you think you can trust me?" and so on. But at the end, I said, "You can count on me to be loyal to you. I will not leak. I will keep my disagreements with you private. And if I cannot be loyal, I'll leave." Loyalty means doing what you think is in the best interest of that person as well as the country.”

“I think in the end there is one ultimate goal with all my careers, and that is, as a performing artist, you want to explore the deepest, most truthful way to express a point of view, or whatever the character is thinking, or whatever emotion you're trying to convey. I think with the different media it's just about what muscles you use to express that.”

“I think, in the end, we have to say that there should be no discussion of Martin Luther King Jr. without Ella Baker, which is to say they are complementary. These two figures, voices, tendencies in the Black freedom movement, and particularly in the human freedom movement in general, they say something to young people these days in the age of Obama. See, Obama ends up being the worst example of messianic leadership, captured by a vicious system that is oligarchic domestically and imperialistic globally and uses the resonances of this precious freedom struggle as a way of legitimating himself in the eyes of both the Black people and the mainstream Americans, and acting as if as community organizer he has some connection to Ella Baker, which is absurd and ludicrous in light of him running the oligarchic system and being so proud of heading the killing machine of US imperial powers. So that when young people - who now find themselves in an even more desperate situation given the present crisis - think about the legacy of Martin King and legacy of Ella Baker in the age of Obama, it compounds the misunderstandings and misconstructions, and sabotages the intellectual clarity and political will necessary to create the kind of change we need. To use jazz metaphors, what we need would be the expression and articulation of different tempos and different vibrations and different actions and different witnesses, so it's antiphonal; it's call-and-response, and in the call-and-response, there are Ella Baker-like voices tied to various kinds of deep democratic witnesses that have to do with everyday people organizing themselves. And then you've got the Martin-like voices that are charismatic, which are very much tied to a certain kind of messianic leadership, which must be called into question, which must be democratized, which must be de-patriarchalized. And yet they are part of this jazz combo.”

“I think in the end, you would have stayed with me, out of obligation...or maybe comfort. Maybe I was safe to you, and you needed to feel that. I know how scared you get of the unknown. To you...I must be kind of a security blanket. Do you see now, how that doesn't work for me? I don't want to be there, simply because the idea of me being gone is too...scary. I want to be someone's everything. I want fire and passion, and love that's returned, equally. I want to be someone's heart... Even if it means breaking my own.”