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I Quotes

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All I Quotes

“I went in - after making every possible noise in the kitchen, short of pushing over the stove - but I don't believe they heard a sound. They were sitting at either end of the couch, looking at each other as if some question had been asked, or was in the air, and every vestige of embarrassment was gone. Daisy's face was smeared with tears, and when I came in she jumped up and began wiping at it with her handkerchief before a mirror. But there was a change in Gatsby that was simply confounding. He literally glowed; without a word or a gesture of exultation a new well-being radiated from him and filled the little room.”

“I went in and started to get dressed. Dressed for calling, that is. I took more pains dressing for her than I ever had dressing for him. And yet he was the one I was dressing for, in a roundabout way. I had to be careful. Enemy eyes. Finally I was ready and I got out fast. I knew if I didn't go quickly I'd never have the nerve to go at all. The two jiggers of gin were wearing off, so I stopped just long enough to gulp a third and last to see me through. Then I went out and closed the door behind me, and for the first time in four years I didn't give a damn what there was going to be for supper.”

“I went in for an audition [for As Good As It Gets], but the audition was with James L. Brooks. I was the first girl in that morning, and there was a whole waiting room of girls waiting to read for it. So I did my audition, and he asked me to step outside. So I stepped outside, and when he asked me to come back in, he looked at me, and he said, "Well, I'm very excited to work with you on set." And I was, like, "What?" I thought it was a Hollywood blow-off.”

“I went in right up front and said, This can't be about some guy in bandages. I didn't even want to do a horror movie. I took the concept and made a romantic adventure film. I like action heroes who don't take themselves too seriously. I wanted to make everyone take the mummy seriously, but it couldn't just be a guy in bandages. But the main thing was to build in surprises. That's one of the great things you can do with special effects.”

“I went into her nightmare,' Rhys peered up at Cassian. 'Why didn't you tell me you attempted a scrying today?' 'It didn't work.' And Nesta's fear and guilt had been so heavy in the room that his chest had ached. He'd left her alone afterward knowing she'd want privacy. Rhys let out a shuddering breath. 'The scrying was a trip wire. For the memories. I caught that as I went in.' His throat worked, as if he'd heave, but he held it odnw. 'She was dreaming of the Cauldron. Of... of when she went in.' Cassian had never seen Rhys at such a loss for words. 'I saw it,' Rhys whispered. 'Felt it. Everything that happened within the Cauldron. Saw her take its power with her teeth and claws and rage. And I saw... felt... what it took from her.' Rhys rubbed his face and slowly straightened. He met Cassian's stare unflinchingly, his eyes full of remorse and agony. 'Her trauma is...' Rhys's throat bobbed. 'I know,' Cassian whispered. 'I guessed,' Rhys breathed, 'but it was different to feel it.' 'What is her power?' Azriel asked. 'Death,' Rhys whispered, hands trembling again as he got to his feet and aimed toward the window, which was now repairing itself shard by shard, as if a careful, patient hand worked upon it. He gazed at the female sleeping in the bed, and fear clouded the face of the High Lord of the Night Court. 'Pure death.”

“I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.”