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“Modern problems proliferate and remain unsolved because we spend so much time trying to deal with societal and world problems without first dealing with family and community problems. If we organized for normal families and communities - if these two groups provided the functions they are designed for - world problems would diminish and fade out in two or three generations.”

“One of the difficulties with grief research is that it risks making certain kinds of grief seem normal and others abnormal - and of course having a sense of the contours of grief is, I think, truly useful, one has to remember it's not a science, it's an individual reckoning, which science is just trying to help us describe.”

“For me, it's just a normal artistic endeavour to explore the dark side. Certainly, I'm not alone in it. Artists generally don't like to accept the version of reality that society and culture hand them. They want to know what's really going on. So you're always looking in the ceilings, under the floorboards and behind the walls, trying to find the mechanisms, the structures, and the truth. I find that often leads you into some dark places.”

“I surrender it to God, knowing that the pain itself is a product or a reflection of how I am interpreting whatever it is that is causing me pain. Some pain is simply the normal grief of human existence. That is pain that I try to make room for. I honor my grief. I try to be kinder to myself. I give myself time to move through and to process whatever is making me sad.”

“It was a really strange experience. It was very creative for Alejandro Amenábar. It was almost like it was the most I ever felt like I was helping someone paint. They had a very clear idea of what they wanted it to look like, sound like, be like. So, there was no operating outside the box. The only way to help him was to try to really be a part of his imagination and try to make it happen. He's a super kind and loving person. So, you wanted to help him. It just was none of my normal ways of helping a director work at all. So, it was a unique experience for me that way.”

“It's hard: you get older, you have a career, the normal frustrations that come with what you do when you wear your heart on your sleeve and you try really heard. I was exhausted, and I couldn't quite see the magic of creating at that time. That's all. I couldn't get into it, and Andy [Kim] slowly resuscitated me, and that's how I made Darlings.”

“I don't want to give too much away, but something horrible happens in 1977. That was also the year of the Queen's Silver Jubilee. I remember this jubilee. I remember receiving a commemorative coin from the school. I think it was a fifty pence piece. That was its monetary value, but it was not a normal fifty pence piece, and it would have been strange to try and use it in a shop.”

“If you're up there [on stage] thinking about what you're doing, you're just not there and it's not going to happen.So trying to learn how to overcome those - which is a normal thing to do. You're in front of a lot of people. People are going to get very self-conscious. So you have to learn to sort of overcome that tendency towards self-consciousness and just blow it wide open. And you jump in and join all those people that are out there enjoying what you're doing together.”

“Trying to make your own sound is hard. When I was producing for other artists, I could just produce and write songs as a normal songwriter, and almost make them generic. The artists themselves, whoever is singing that song, can put their own twist on it. When it came to my own material, I had to really dig deep, because I was just writing generic stuff. It sounded like everybody else, like Justin Timberlake, like Usher. I never wanted to sound like someone, that's when you know it's not going to work.”

“LSD is no longer playing a bad role in the drug scene and psychiatrists are again trying to submit their proposals for research with this substance to the health authorities. I hope that LSD will again become available in the normal way, for the medical profession. Then it could play the role it really should, a beneficial role.”

“What is a normal child like? Does he just eat and grow and smile sweetly? No, that is not what he is like. The normal child, if he has confidence in mother and father, pulls out all the stops. In the course of time, he tries out his power to disrupt, to destroy, to frighten, to wear down, to waste, to wangle, and to appropriate . . . At the start he absolutely needs to live in a circle of love and strength (with consequent tolerance) if he is not to be too fearful of his own thoughts and of his imaginings to make progress in his emotional development.”

“It's never been about trying to look well-behaved. It's just how I am. I guess it's a weird thing to be 19 and not ever have been drunk, but for me, it just feels normal because I don't really know any other way. I don't know if I'd be comfortable getting wasted and not knowing what I've said. That doesn't mean when I'm older I won't have a glass of wine. I just don't think it's such a strange thing for me not to be wasted all the time.”

“Tomorrow we go back to normal?" "Sure," Mab said. "It'll be like none of this happened. Except I'll still be pregnant, and you'll still be making dragons, and Glenda will still be pretending that Dreamland is Cancun, and Weaver will still own the only green velvet demon in captivity. Other than that, perfectly normal." "I just meant no demons trying to kill us," Cindy said. "My baseline for normal is a lot lower than yours.”