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“I can remember the time I would get my scripts and spent the entire weekend breaking them down and playing with them, and putting a lot of work into them, trying to bring the character to life, and to make interesting choices. It was one of the things to me that told me that I needed to change things up a little bit, because to me, I felt the passion was lacking from some of my performances.”

“At Harvard, the strong and savvy and confident thrived, while the nice or shy or quaintly moral were just bit players. In Ysleta, you believed in God because you were poor and needed something to hold on to. At Harvard, you believed in your good luck or bad luck, in all-nighters, in your political savvy.”

“There was this big skiffle craze happening for a while in England.... Everybody was in a skiffle group..All you needed was an acoustic Guitar, a washboard with thimbles for percussion, and a tea-chest- you know, the ones they used to ship tea from India- and you just put a broom handle on it and a bit of string, and you had a bass..you only needed two chords; Jing-jinga-jing jing-jinga-jing jing-jinga-jing jing-jinga-jing. And I think that's basically where i've always been at. I'm just a skiffler, you know. Now I do posh skiffle, that's all it is.”

“The lack of quality dance music and the fact that here in the United States, house music is not seen as anything viable by the music industry. I figured that this might be another shot at the industry looking at the possibilities of house music and giving it a little bit more legitimacy than what they give it. It's a host of different things, but it's something that I needed to say musically.”

“It's funny because you do often read in recounts of very famous albums, people tend to focus on mistakes in really positive ways, and there's certain mistakes of my own that I always do find on every record that I needed to accept. I find it really interesting to talk about. I always write songs at the wrong tempos, and I have to learn to accept that a little bit.”

“When Scott and I started, every time we performed we wrote a whole new bit. We didn't know this wasn't the way things were done because we were just starting. But we needed the new material anyway. And it's nice, every time that Matt Besser does the show he does a whole new bit. And it's nice to offer up a place where people can be that experimental while offering some solid, proven comedy as well.”

“It's one of those things where the book has all these stars that burn really bright that you hang onto and they're all saying, 'This is The Girl on the Train experience.' All those stars or hooks needed to be in the film, but sometimes they needed to be a bit different. It's important when adapting such a popular book to hit all those points but also break out expectations without slaughtering the book. And that was, for me, the joy of adapting the book.”

“Families that I lived with a little bit in junior high and quite a bit in high school and college. Just to have a safe, sane space with food and things like that. That's what I needed. And people were really kind and really generous. So I think the world kind of opened up my first years of performing arts, studying classical saxophone with Caesar DiMauro.”

“Corrigan told me once that Christ was quite easy to understand. He went where He was supposed to go. He stayed where He was needed. He took little or nothing along, a pair of sandals, a bit of a shirt, a few odds and ends to stave off the loneliness. He never rejected the world. If He had rejected it, He would have been rejecting mystery. And if He rejected mystery, He would have been rejecting faith.”