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“In the stock market (as in much of life), the beginning of wisdom is admitting your ignorance. One of the many things you cannot know about stocks is exactly when they will up or go down. Over the long term, stocks generally rise at a nice pace. History shows they double in value every seven years or so. But in the short term, stocks are just plain wild. Over periods of days, weeks and months, no one has any idea what they will do. Still, nearly all investors think they are smart enough to divine such short-term movements. This hubris frequently gets them into trouble.”

“I have nothing against Canada. I think that Canadians might know the secret to all existence, but to us it just comes off as timid and kind and too nice, and it strikes us as lacking edge. Unless you are hijacking someone and going on a reality show with your eight kids and wearing a velour pink pantsuit, then you have no edge to us.”

“If you look at a photograph, and you think, 'My isn't that a beautiful photograph,' and you go on to the next one, or 'Isn't that nice light?' so what? I mean what does it do to you or what's the real value in the long run? What do you walk away from it with? I mean, I'd much rather show you a photograph that makes demands on you, that you might become involved in on your own terms or be perplexed by.”

“In theater, there's a lot of discipline involved in doing eight shows a week for a year and a half. It's nice to be able to bring some of that bag of tools with you over to the film world, where you don't have the rehearsal, you don't have an audience. You don't have a month of rehearsal to examine these words, and you meet the guy who's going to play your brother the morning that you shoot the scene. So you need a bag of tools.”

“I don't do my show for critics. Early on I did, because I'm a nice guy and I like to be liked by everybody, and I thought, "Hey, I'm just making people laugh, what's the big deal?" There have been all different types of comics that appeal to all different types of people. Why rail on me? But yeah, they really don't like Southern acts.”

“For instance, in group therapy, I'll have people stand up, show off, give a speech about themselves as though they've just died and have to give a eulogy. Even with this explicit permission - even an order - to say something nice about themselves, this is the hardest thing in the world for people to do. They'd rather take their clothes off.”

“If God, in the Christmas mystery, reveals himself not as One who remains on high and dominates the universe, but as the One who bends down, descends to the little and poor earth, it means that, to be like him, we should not put ourselves above others, but indeed lower ourselves, place ourselves at the service of others, become small with the small and poor with the poor. It is regrettable to see a Christian who does not want to lower himself, who does not want to serve. A Christian who struts about is ugly: this is not Christian, it is pagan.”

“Drama's not safe and it's not pretty and it's not kind. People expect the basic template of television drama where there might be naughty villains, but everyone ends up having a nice cup of tea. You've got to do big moral choices and show the terrible things people do in terrible situations. Drama is failing if it doesn't do that.”

“You've got this world, these pathologists that are, day in and day out, taking apart bodies, coming up with theories about how they died and how to better serve the community. At the same time these people have lives outside and families and my character in particular, he has a fiance and things are going well for him, so you've got to show that nice warm compassionate side at the same time you've got to show the steely, icy cool of a doctor. Not only that, but a doctor who gets a bit of a God complex and starts killing people for sport.”

“I always have a feeling you should move the playing field and the minute you know what you're doing, you're wrong. Therefore, I wanted us not to try to follow Spamalot immediately, but to do something different. This is perfect because it uses all the same skills, like story telling and lyric writing and music writing, but it's presenting it in a different form. And of course it gives me and John a nice chance to perform and show off which is also fun.”

“I'm afraid, as true as love is, it is tested by circumstance and sometimes you don't make the best choices. As much as the fans claim [that] all they want is just want people sitting around and having a nice time together, trust me, you would not be watching the show if there wasn't conflict, if there wasn't drama, if there wasn't jeopardy. And it's not just physical jeopardy, it's romantic jeopardy as well.”

“For me, working in the fashion industry is about getting to meet the minds behind the brands. Sure, there are nice dinners, events and shows - even the occasional freebie - but the best part is getting to sit down with and talk to people that have done great things. You quickly realize that no matter who you're talking to, how famous, brilliant or wealthy they are, they are just "people."”

“I have this thing. I've always been uncomfortable going to any party where people don't understand why I'm there. One of the best things about partaking in a show like this is, when I show up to events and parties now, they know me. I don't have to hear, 'Oh, you're an actor? Have I seen you in anything?' anymore. I used to have to start listing things off of my resume'. It's really nice not to have to do that anymore.”

“I think that there's some brainwashing going on with this idea that we don't have time to cook anymore. We have made cooking seem much more complicated than it is, and part of that comes from watching cooking shows on television-we've turned cooking into a spectator sport. ...My wife and I both work, and we can get a very nice dinner on the table in a half hour. It would not take any less time for us to drive to a fast-food outlet and order, sit down, and bus our table.”

“I don't recall a show I've ever been on that had the same director do two episodes in a row, but in England, they do it all the time. In England, they'll just have one director for eight episodes. That was the British system that Jane Tranter and Julie Gardner wanted to bring to the States. I think there was a nice merger of the two systems. They might have gone with one director, but John had obligations on The Village, and he had to leave and come back, so it seemed like a natural place to break it up.”

“I don't know how that budget would have been worked out, but that was the initial idea. Obviously, we couldn't have had a show with nine expensive actors in it. It was very nice that they were even interested in doing that. But, I was so proud of what we'd done that I couldn't think of a compelling reason to do a lesser version of it.”