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“One kid said to me, he said, Mr. Lloyd, we really owe you. And I explained to him, man, you owe me absolutely nothing. I said, whatever kind of career I had, it has served me well, but you do owe some people. And the people you owe are the folks who are going to come behind you. It's incumbent upon each watch — when you play your 10, 11 years and you're in your group — when you leave, I truly hope that you've done all you can possibly do to leave it a better place for the folks who come behind you.”

“I did The Seagull, the Chekhov play, on Broadway, a couple of years ago, and I had done it in London, and I became completely obsessed with the character, Nina, that I played in that. She's an actress. I couldn't find a play after that, that I wanted to do, because I couldn't think of doing anything else. Every part is a disappointment, once you've done that part.”

“On the whole, we think that the greatest victories are yet to be won, the greatest deeds yet to be done, and that there are yet in store for our peoples, and for the causes that we uphold, grander triumphs than have ever yet been scored. But be this as it may, we gladly agree that the one plain duty of every man is to face the future as he faces the present, regardless of what it may have in store for him, turning toward the light as he sees the light, to play his part manfully, as a man among men.”

“A free press is one where it's okay to state the conclusion you're led to by the evidence. One reason I'm in hot water is because my colleagues and I at NOW didn't play by the conventional rules of Beltway journalism. Those rules divide the world into Democrats and Republicans, liberals and conservatives, and allow journalists to pretend they have done their job if instead of reporting the truth behind the news, they merely give each side an opportunity to spin the news.”

“But to demand that a work be “relatable” expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer. The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual's solipsism.”

“The person who's receiving the food cooks as much as the chef. They have a very important role to play... There's no other activity that the person who receives it can destroy the work, can participate in how it's being done. It's emotional. Sometimes journalists are going to have to start talking more about the diners than the chefs.”