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“Actually, when I was young, I believe I met Nicolas Cage. I think I was probably eight, and I remember seeing him at somebody's house - it was an event and he happened to be there. People would ask me if I was his son, because I looked like him at that point, so I do remember feeling some connection and just wanting to say, like, 'Papa!'”

“I think it might be better to have the President sort of like the King of England - or the Queen - and have the real business of the presidency conducted by ... a city manager-type, a Prime Minister, somebody who's directly answerable to Congress, rather than a person who moves all his friends into the White House and does whatever he wants for four years.”

“It was a great place to grow up. There were always kids around in our neighborhood. We had a basketball hoop in the back of our house, a little front yard where you could get touch football games going. I know you think of it as a big city, but it was fun for me to grow up in New Orleans. I remember it as a very normal childhood.”

“I call this my church house trilogy. Souls' Chapel really was music from the Mississippi Delta, which to me is a church within itself. The Delta is the church of American Roots music. The Badlands is a cathedral without a top on it. And the Ryman has been called the Mother Church of Country Music, but to me it's the Mother Church of American Music. If you can think it up, it's been done there. In my mind, this is kind of a spiritual odyssey as much as anything else, and I had the settings of three churches to make it in.”

“When the next generation of content is developed, we have to think in a totally different way. Think about it more symbolically. The main story that you see on the TV screen is maybe like the living room of a house. But there are various other rooms in this house that you will otherwise never see. But if you use the Internet, you find out what's in the attic. And if you use the cell phone, you find out what's on the first floor. And on another medium, you find out what's in the cellar.”

“Borrowing money on what's called 'easy terms,' is a one-way ticket to the Poor House. If you think it ain't a Sucker Game, why is your Banker the richest man in your Town? Why is your Bank the biggest and finest building in your Town? Instead of passing Bills to make borrowing easy, if Congress had passed a Bill that no Person could borrow a cent of Money from any other person, they would have gone down in History as committing the greatest bit of Legislation in the World.”

“There is something in the character of every man which cannot be broken in--the skeleton of his character; and to try to alter this is like training a sheep for draught purposes. GEORG CHRISTOPH LICHTENBERG, The Reflections of Lichtenberg We become familiar with the outsides of men, as with the outsides of houses, and think we know them, while we are ignorant of so much that is passing within them.”

“I still feel needles in my back when I think about all the horrible disasters that would have befallen me if I had permanently moved to San Francisco and rented a big house, joined the company dole, become national-affairs editor for some upstart magazine—that was the plan around 1967. But that would have meant going to work on a regular basis, like nine to five, with an office—I had to pull out.”

“It is a dreadful thing to see the dead city. Next to the port I found children, women, the old, waiting for a way to leave. I entered the houses, there were houses where the coffee and pita bread were left on the table, and I could not avoid [thinking] that this, indeed, had been the picture in many Jewish towns [i.e., in Europe, during World War II].”

“I think the hard thing about this job [stand-up] I mean, I think this part is great but that the traveling is y'know, 'cause 'cause I'm gone a lot from home and this time I'm out for three-and-a-half weeks without going home, and that's hard, to be gone three-and-a-half weeks 'cause then I have to ask my friends, "Would you mind going to the house and watering the plants, and turn some lights on and make it look like somebody's home, and make sure that the mobile over the crib isn't tangled or the baby's gonna get bored.”

“My job the same as carpenter. What kind of house you want to build? What kind of food you want to make? You think your ingredients, your structure. Simple. [Other] Japanese restaurants … mix in some other style of food and call it influence, right? I don't like that. … In Japanese sushi restaurants, a lot of sushi chefs talk too much. 'This fish from there,' 'This very expensive.' Same thing, start singing. And a lot have that fish case in front of them, cannot see what chef do. I'm not going to hide anything, right?”

“Really, this horrid House of Commons quite ruins our husbands for us. I think the Lower House by far the greatest blow to a happy married life that there has been since that terrible thing called the Higher Education of Women was invented.”

“He [Bogie] had tremendous character and a great sense of honor and would not tolerate lies, even if they asked him what he thought of a movie. We were once at a screening at somebody's house, I forget whose, and they ran a movie that he was in, that he never thought much of. Afterward, the producer asked what he thought of it, and Bogie said "I think it's a crock." And this producer was horrified! He was about to release the movie, and he said to Bogie "Why would you say that?!" Bogie shrugged and said "Then don't ask me." He never played the schmoozing game. He was not into that at all.”

“You know, when I made a series of overtures to the Republicans, going over to meet with both Republican caucuses, you know, putting three Republicans in my cabinet -- something that is unprecedented -- making sure that they were invited here to the White House to talk about the economic recovery plan, all those were not designed simply to get some short-term votes. They were designed to try to build up some trust over time. And I think that, as I continue to make these overtures, over time, hopefully that will be reciprocated.”