A Quote by Henry Mancini
I've had pieces in my catalog that kind of amble along, that really never go anywhere, but are known and liked.
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I wasn't even aware that there are different styles of taxidermy, traditional and rogue. I wound up really liking the rogue stuff the most, just because it is more artistic and people can go anywhere with it. That stuff I really liked. Honestly, I would have liked to buy some of those pieces.
I liked sports but I never really had the confidence. I was always coordinated and it came easy to me, but I didn't have the confidence to go along with the physical skill.
Most people have never known solitude.... But there are a few of the other kind who can go back to their rooms anywhere and close the door on the whole world, and feel that they need never emerge.
I knew the big following 'Stranger Things' had, and I really liked the show, but even if I hadn't known what the show was, I still really related to the character, and I really liked the material.
I had never really liked the music by Gabriel Faure, but just by chance, listening to some pieces by him, I got very interested. So I listened to almost everything. All the pieces written by him. I was digging deeper and deeper. I'm not sure I still like his music or not, but it's interesting.
These are optimistic pieces, travel pieces that go anywhere
Oh, go in anywhere Colonel, go in anywhere. You'll find lovely fighting all along the line.
Working on "Pieces of April" with Peter Hedges at a young age was really very powerful. It was a different kind of work. We shot that in 10 days and Peter was right there with us, right next to the camera. It was very grounded and I really liked working that way. I liked the way he directed us.
Funnily enough, I was a big fan of the show and had been watching it - along with everybody else - and had never imagined that I would be on it. You kind of look at shows and think, 'Oh, I wish I had done that one.' But I didn't really see myself on 'True Blood.'
I took art courses, only in the sense that I was able to - I took art classes, which were fun, which I liked, but it was a - just a kind of a general education that I got, a regular academic - academic diploma, but I kind of had the feeling that art was something that I really liked the most but I wasn't really sure that that was it.
I had never really done something that was more of a horror film, and its funny, because those are the kind of movies that I like probably more than any other genre. The script had images in it that I liked.
I always thought that there was something in hip-hop culture that was the misfit of all the musical styles, where they didn't really belong. They're kind of like, 'No, we're a real culture! We're not going anywhere, you can't get rid of us!' I really liked that there was a rebelliousness about it. I connected with that.
I thought of all the magazine article I'd read on mothers who worked and constantly felt guilty about leaving their children with someone else. I had trained myself to read pieces like that and silently say to myself, 'See how lucky you are?' But it had been gnawing at the inside, that part that didn't fit, that I never let myself even think about. After all, wasn't it a worse kind of guilt to be with your child and to know that you wanted to be anywhere but there?
When I was younger, I had a much better connection between words and music. Somewhere along the way, I had kind of an aspiration to disconnect them, to just kind of go into a totally musical world.
You know, I think I did originally have some sort of idea of maybe a Where Eagles Dare kind of mission against impossible odds, but it really sort of died before I had a chance to really go anywhere with it, and then just doing the book was out of the question.
I liked Augustus Waters. I really, really really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially-fraught free throws.
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