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“There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.”

“We'd decided to write a book about two friends. I gave her some coffee and then we sat there not knowing what to do. How do you start writing a book together? So Kate [DiCamillo] got up after about 10 minutes into this endeavor, and said, 'Well, that was fun,' and started to head out the door. I said, 'Wait, wait, wait, no no no,' because I'm a bit more patient.”

“So we [with Kate DiCamillo] decided to give the friends an object and see what they did with it. The object was a sock and it went from there. Once we got going, once we got on a roll, it became very easy to work together and to figure out how to do it. We would meet for two-hour segments, usually from 10-12, two or three times a week. We met all one summer, and I think into the fall.”

“The initiative of the Five Year Plan and of the accelerated collectivization belongs entirely to the Left Opposition, in uninterrupted and sharp struggles with the Stalinists. Not having the possibility of occupying myself here with long historical researches, I will limit myself to a single illustration. The Dnieprostroy is considered with right as the highest achievement of Soviet industrialization. Yet [Joseph] Stalin and his followers ([Clim] Voroshilov and others) a few months before the beginning of the work were decided opponents of the Dnieprostroy plan.”

“I did it [photojournalism] as something that was really rewarding to do, given the opportunity to express myself about something I cared about, and also to learn a lot by watching filmmakers I admired. In a sense, it was my film school. After doing it for a few years, I decided that the time had come to get it together and do some work of my own. So I stopped doing that and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money.”

“We call 'Slavery is wrong' a moral truth because there is a specific history of theoretical investigation of a particular kind of slavery. We discussed it for centuries in metaphysical, economic, biological, and philosophical terms; we listened to all the arguments pro and con, we read all the testimonies of slaves and witnesses, and we decided. Though this 'we" is not everybody on earth, or even most people, who've never thought about slavery much.”

“There's a part of me with every book that thinks, What would it have meant for me tohave had this book when I was a kid? I decided to create a book for girls like me. The Littlest Bigfoot is about bullying and body image and girls who don't fit in. It's like training wheels for my adult books - like Sex and the City, but with 12-year-olds.”

“The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."”

“I had these couple of hippie guy friends who were super broke and living in the attic of somebody's house and they were like, "We don't have any food, man." And so I decided to go to the grocery store and steal chicken pot pie. And I stuck it inside my clothes. I took a couple frozen chicken pot pies and stuck them inside my pants, and I got caught walking out of the store. And they took me in the back room, and - luckily, I was 14, but I had a fake ID saying I was 18, so they didn't call my parents.”

“I decided to go to the night, myself, and started to go out to the fields, where I would encounter things that I cannot see very well, that I cannot detect very well, and to put myself in a position where I'm going to be suspected as a being entering a territory of other beings, and I'm also going to suspect them. I have to be very alert, and they are going to be very alert - this kind of position I felt was very much what is going on in the world for me.”

“Concurrently, while I was in school, while I was winning awards for acting, I was winning awards for singing, in high school. One of the reasons why I decided to continue on with the acting was the opera world is fraught with a very long process, and I did love the acting, as well. The acting took off sooner, and then you get involved with that.”

“J.C. [Chandor] was the kind of energy we were looking for, so we decided to get behind it with all of our effort. That was the beginning of our relationship with first-time feature directors, and that's when it became really important to us, watching them thrive and grow in a creative environment in which you can do that was really key. Also his work checked all the boxes, because it was socially relevant and intellectually driven, and creatively exciting.”

“In researching literary agents I did what the books tell you to do: I looked at the acknowledgments page of a book that was similar to mine. Happily, that author thanked his agent. I looked up the agent on the web and found out that he not only represented authors writing books similar to mine, but I knew some of his clients! So, I sent in the manuscript, and they decided to represent it.”

“I work with this wonderful five-piece band, The Tony Guerrero Quintet, along with Kate Flannery, who was Meredith the Drunk in The Office, and Tim Davis, who was the vocal arranger on Glee. The three of us sing, and the band is amazing. We've been working together for about two years. So, we decided to do a Christmas album in July.”

“The Facebook algorithm designers chose to let us see what our friends are talking about. They chose to show us, in some sense, more of the same. And that is the design decision that they could have decided differently. They could have said, "We're going to show you stuff that you've probably never seen before." I think they probably optimized their algorithm to make the most amount of money, and that probably meant showing people stuff that they already sort of agreed with, or were more likely to agree with.”

“I was born in the south of France, I moved to Paris 30 years ago. I was running nightclubs and restaurants, so that was my business - working until six o'clock every morning, and then one day I noticed my wife. We opened the gallery together. She got pregnant, she was 22, I was 35, and it was time for me to change my life, and I decided to wake up early - wake up at the time I used to sleep.”

“What kind of motivated me to join the Black Panther Party was that I, along with some of the comrades that I was working with in New York, had heard about the Black Panther Party, and they were doing things that we wanted to do in New York, and we thought that would be a better vehicle than the vehicle that we had going on in New York. They were better organized, and they already had their Ten-Point Platform and Program, and people already heard about them. So we decided that we would join the party, when given a chance.”

“[My father] did get enough money to buy mules. We didn't have tractors, but he bought mules, wagons, cultivators and some farming equipment. As soon as he bought that and decided to rent some land, because it was always better if you rent the land, but as soon as he got the mules and wagons and everything, somebody went to our trough - a white man who didn't live very far from us - and he fed the mules Paris Green, put it in their food and it killed the mules and our cows.”