A Quote by Karrueche Tran

I've had scenes where I had to cry, and by the time I've cried for the 20th time, I'm exhausted. — © Karrueche Tran
I've had scenes where I had to cry, and by the time I've cried for the 20th time, I'm exhausted.
Since I had children, I cry all the time - I just had a little cry in 'Harry Potter And The Deathly Hallows.'
I had been taught that if I cried, to be quiet about it, so whereas I never howled, the least thing made me cry both at school and at home. Crying tends to separate a child from other children, for even children dislike a cry baby, and I had no friends in the world.
When things have gone really wrong in my life, I've cried like a child. I have really, really cried. I cry it out. Two-three days I cry, and then I'm like, enough, time to deal with reality and figure a way out. This is the way I have dealt with everything.
The first time we did cavalry charge I was so breathless with excitement I nearly fell off the horse. I actually saw stars in front of my eyes and thought I was going to faint. The second time I had a bit more control but was still giddy with excitement. And the third time I was an emotional wreck. I had to really try hard not to cry.
Who will cry for the little boy, lost and all alone? Who will cry for the little boy, abandoned without his own? Who will cry for the little boy? He cried himself to sleep. Who will cry for the little boy? He never had for keeps. Who will cry for the little boy? He walked the burning sand. Who will cry for the little boy? The boy inside the man. Who will cry for the little boy? Who knows well hurt and pain. Who will cry for the little boy? He died and died again. Who will cry for the little boy? A good boy he tried to be. Who will cry for the little boy, who cries inside of me?
There's the tradition of the 19th-century ballets, and the 20th century has had a difficult time with that tradition. And it's had a difficult time with many components of the Romantic imagination because of modernism.
I cry secretly. I don't really cry in front of anybody. I hate crying. I feel like it's not accomplishing anything. But when I lost my mother, I cried, and I cried big.
Also, I had not yet found out about time; I was still under the illusion that I had plenty of time - time for this, time for that, time for everything, time to waste.
I called Nic Pizzolatto and he said, "No, no. You're in it the whole way through." That was fun to shoot [in The Lobster]. I had a few scenes in that show that were some of my favorite all-time scenes to be in.
I had never done a Director's Cut narration on Beaches so I did in time for the release of the DVD. It was a great visit and I do a whole-behind-the-scenes thing and I tell stories about Bette [Mudler] and Barbara Hershey and everybody and that was fun. It made me cry again.
My mother died when I was five, and all I did was sit and cry. I cried and cried and cried all day, until the neighbors went away.
The first time I didn't get called back at an audition, I cried. My mom told me, 'We're doing this for fun, and if it's not fun anymore, we're not going to do it. So if you ever cry again, we're going to stop.' I never cried from then on, and I kept that lesson for the rest of my life.
For a long time, I couldn't cry on stage. I cried very rarely as a child.
There was a study done in the early 20th century of all the entrepreneurs who entered the automobile industry around the same time as Henry Ford; there were something like 500 automotive companies that got funded, had the internal combustion engine, had the technology, and had the vision. Sixty percent of them folded within a couple of years.
Once upon a time there was a lady. She had no children, and no happiness either. And at first she cried for a long time, but then she became wicked.
Time with his old flail Beat me full sore; Till: Hold, I cried, I'll stand no more. Then I heard a wail And looking spied How love's little bow Had laid time low.
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