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Loses Quotes

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Loses Quotes

“It's a fine balance between design and the thing making itself happen. The stroke has to have complete precision to work. Sometimes I lose it on the exit. You can't fudge it. It ruins the whole thing.” The resulting figures are almost always contained within the rectangle. “It's less of a window if I keep it within the confines of the canvas, but there's almost always a drip that's an umbilical cord.”

“I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.”

“If a man surrenders all power of self-determination in regard to the profits, management or ownership of the place where he works, he not only loses that special prerogative which marks him off from a cow in a pasture, but what is worse, he loses all capacity for determining any work. This is the beginning of a slavery which sometimes goes by the name of security.”

“Wall Street sometimes gets confused between risk and uncertainty, and you can profit handsomely from that confusion. The low-risk, high-uncertainty [situation] gives us our most sought after coin-toss odds. Heads, I win; tails, I don't lose much.”

“I make some movies for myself. I do that sometimes when the subject matter is very sensitive and very personal and I really can't imagine that I'm an audience member. I would lose myself too much if I thought of myself as the audience. There are other types of genre films that I need to be able to direct from the audience, to be right next to you watching the picture being made.”

“I get worried sometimes that people are saying 'Why is she on television - is it because of Survivor?' That people are saying,'She got here the easy way.' But I have been working hard all these years, and I figured I needed to move forward and embrace it, respect it and perfect it. If I didn't, then everybody would lose.”

“People say I talk slowly. I talk in a way sometimes called laconic. The phone rings, I answer, and people ask if they've woken me up. I lose my way in the middle of sentences, leaving people hanging for minutes. I have no control over it. I'll be talking, and will be interested in what I'm saying, but then someone-I'm convinced this what happens-someone-and I wish I knew who, because I would have words for this person-for a short time, borrows my head. Like a battery is borrowed from a calculator to power a remote control, someone, always, is borrowing my head.”

“I try to stay level-headed and it's always the way I've been. Sometimes your personality out in the real world, you want to take that into your sport because that's where you feel comfortable. You never want to try to do something that's not you or you don't feel comfortable doing. That's where you get in trouble. It's the only way I've played sports and done things. I'm low-key, but I'm very competitive and hate to lose.”

“It's unsettling, to lose the safety of the familiar, even when what's disrupted is an ordinary routine. When I began this poem, I was grieving for the loss of my old barbershop in Manhattan, and wondering at the strangeness of my new one. I didn't have any idea the poem would break into the underworld, opening a deeper subject: the continuing force of the old griefs routine helps to mediate, and my strange, sheer wonder at my own survival. Where's home now? In the contingent present, in which anything can disappear, and where we're sometimes granted some form of grace.”

“Sometimes when I talk to little children I remind them of the fact that when I was growing up myself, I used to play with frog eggs and tadpoles and I used to walk in the field, I used to literally copy whatever my mother was doing on the land. And that may be the reason why I eventually developed the passion for green and for the Earth. So it is extremely important for adults and especially those who are in charge of cities to make sure that we do not lose touch with the land and with the environment. And especially our children.”

“Sometimes, counter-intuitively, it's easier to make a major change than a minor change. When a habit is changing very gradually, we may lose interest, give way under stress, or dismiss the change as insignificant. There's an excitement and an energy that comes from a big transformation, and that helps to create a habit.”

“Love is at the root of all healthy discipline. The desire to be loved is a powerful motivation for children to behave in ways thatgive their parents pleasure rather than displeasure. it may even be our own long-ago fear of losing our parents' love that now sometimes makes us uneasy about setting and maintaining limits. We're afraid we'll lose the love of our children when we don't let them have their way.”

“There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.”