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Talking Quotes

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Talking Quotes

“Know what you're talking about.”

“If you are really spontaneous, people will think you are mad. If you go to a tree and start talking, or to a flower, people will think you are mad. If you go to a church and talk to a cross or to an image, nobody will think your are mad, they will think that you are religious. You are talking to a stone in a temple and everybody thinks you are religious because this is the authorized form.”

“If a society takes it upon itself to prescribe and proscribe certain streams of belief - to prohibit certain less-favored strains of conscience - it may be the non-believer who is among the first to be condemned. A coercive monopoly of belief threatens everyone, whether we are talking about those who search the philosophies of men or follow the words of God.”

“My understanding from talking to a lot of people in the business has been that it used to be that a newspaper was considered a community service. Now they're being run as profit centers, and they're trying to get pretty high profit margins. As a result, investigative reporting has been seen as a problem.”

“I have four daughters, with the two youngest being four years old and a year and a half. When one of my older daughters was in sixth grade, a classmate brought in their talking Winnie the Pooh doll for show and tell, so the next week my daughter one upped her classmates and brought me to school in for show and tell.”

“Spiritual practice is not just sitting and meditation. Practice is looking, thinking, touching, drinking, eating and talking. Every act, every breath, and every step can be practice and can help us to become more ourselves.”

“The concept of God as a loving, all-powerful person, who created us, who has a plan for us, who issues commandments, and who is ready to receive us into Heaven, is a substantial concept, rich in meaning and significance for human life. But if we take away all this, and leave only the idea of an original cause, it is questionable whether the same word should even be used. By keeping the original word, we delude ourselves into thinking that we are talking about the same thing.”

“I hate the word "method acting." It's just so silly. You hear people going, "Yeah I'm a method actor." I'm like, "So what happens if you're playing a period film or something? You're in the Second World War. And what happens when your mom calls you on your phone? Do you go, 'Oh! What is this strange talking brick device?'" No. It's stupid. But you do everything you can to get in that mindset.”

“I had a total revelation with the feminist moment, with Carolee Scheeman and Marina Abromovic and of course Joan Jonas; that was a big breakthrough with me. And through them, I was introduced to Chris Burden and Bruce Nauman and Vito Acconci. You can almost call it a gang, because the works are always talking together. That stuff had a huge impact on me, but other than that, my interest had always been old paintings.”

“I think our particular sound has come by just not adhering to any specific sound. For us, it's about the song, and being able to fit in to what is appropriate. When we sit down, we're not talking about what type of band we're gonna be within a specific genre - there's a uniqueness to all of us individually that throws putting anything in a box out the window.”

“When I was about 17, I didn't speak. English was like a foreign language. I'd just grunt. The only time I talked was when I said my lines on set. I didn't speak to any of the actors or anything. Then one day Alison from the Corrie press office started talking to me in the green room and I just decided to talk back. She ran upstairs to tell everyone that she'd just had a 10-minute conversation with me like it was the most unbelievable thing in the world. I just woke up one day and thought, 'I'm going to talk today'. I've really made up for lost time since.”

“I feel that instead of putting myself out in that light, I'd rather be on this side of the camera just to make sure that the movie, from my perspective as far as police procedures, is done properly. I got my daughters in it, that's good enough for me. Scott's got a way of talking me into things, and I told him I don't like the way he can talk me into stuff.”

“Interestingly it's when you come to the comedy, that's where a lot of the discussion is. It's like ten people sitting around talking about what is funny. "Is that funny? Is that funnier than that? Is this slightly funnier than this?" I guess that's what it's like when you're making a comedy movie as well, you just have to sit around talking seriously about the nature of comedy.”

“Because if you remember - and people forget this - the first two years of Game of Thrones everybody was going, "I don't know what's going on, but I really like it." And you really didn't know what to make of a lot of people, and now it's changed and people aren't really talking about that. Now it's like you're watching West Wing or Friends, you know the characters and you're like, "What in the world is going to happen?"”

“I'm much more conscious of historical events since the '60s. In the '60s, I was insulated by my own addictions, my own lifestyle, from what was going on in the world. After I recovered I was amazed at certain people who had died. I hadn't noticed that they had gone. Not friends ... I'm talking about public figures who had passed away.”

“There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.”

“I could never get bored talking about him, he was my favourite player. I loved watching him because he did everything you'd want to see in a footballer. He could dictate the pace of a game; he could take it by the scruff of the neck and control it; he could score decisive goals; he could make the killer pass; he could switch the play, open teams up, slow the game down, quicken it up; whatever was needed. He would take the ball anywhere on the pitch He was such a selfless footballer, too Scholesy was the man, all right.”