A Quote by Aby Rosen

I understand entertaining. You want people to walk out saying, I spent a night with interesting people. — © Aby Rosen
I understand entertaining. You want people to walk out saying, I spent a night with interesting people.
I understand entertaining. You want people to walk out saying, 'I spent a night with interesting people.'
We spent night after night out there learning the art of entertaining a crowd.
It's interesting how when you walk into a room in LA there's a sense of what you walk in, as is sort of what you can do. So I spent a lot of time choosing different things to hopefully show people that maybe that's not the case.
The first reform must be the attitude. The ministers of the Gospel must be people who can warm the hearts of the people, who walk through the dark night with them, who know how to dialogue and to descend themselves into their people's night, into the darkness, but without getting lost. The people of God want pastors, not clergy acting like bureaucrats or government officials.
A lot of people forget that today. They come to the point where you walk on a set and the first thing you know you're looking at the sound man and you're saying to yourself, "How the hell can they get any sound when nobody is talking!" They get all mumbly. You can't make out what they're saying! And you're 6 feet away from them! Whereas in the old-time movies, you hear them, you understand every word they're saying, and you didn't have to put on your loudspeaker.
I like to entertain in all aspects. When you're with somebody and you're out, you want to be entertained. I like to be around entertaining people. Even if they're bored, and you're in a convalescent home, there's something entertaining about that, in a way.
I think it's very insulting to say, 'White people don't understand.' What are you talking about? You're part of the problem then if you're... speaking and labeling all white people, saying they don't understand the issue or saying they can't relate. That's really not giving people much credit, is it?
If you've got a restaurant, you definitely want the line to be out the door the first night, but you're more interested in people continuing to come to the restaurant. And that's their outlook, a little bit. I think it allows for more creativity, in the process. It allows people to make interesting programming that maybe wouldn't have a place on broadcast networks, if you were just counting people.
The fascinating necessarily tends to call a certain attention to itself; the interesting need not. An evening spent with a fascinating person leaves vivid memories; one spent with interesting people has merely a sort of bouquet.
I want people to understand, gambling is not a bad thing if you do it within the framework of what it's meant to be, which is fun and entertaining.
You perform for a different audience each night. People who don't understand just think that you go out there every night and do the same thing, but you don't - you have to find out who they are and give it to them.
We want to see a struggle. We want to see people falling over but getting themselves back up on their feet, and that's what's extraordinary- ordinary people and their struggle. There's nothing as interesting as real life out your window. You walk down the street for half an hour, I'll give you half an hour of drama.
The movie has to be going somewhere. Other than that, you want it to be entertaining, but people usually disagree on what entertaining is and everybody has different tastes.
I mean, let's face it, it's 2000 and people are beginning to wake up on some level. I think that, as I was saying earlier, there's just no denying the impact that showing people the truth can have. It allows people to understand themselves, and when you understand yourself you can understand the people around you. And then you can begin to let go of all the bullshit that leads into things like world wars, racism, stereotypes, and bigotry.
I'll audition for something and then the feedback has been, 'The director wants you, the creative people want you, but the studio is saying no.' It's depressing, but I understand. People are investing a lot of money and they want somewhat of a guarantee; they want someone who's been on the cover of magazines.
There were pockets of this career - whatever you want to call it - where I said, 'I've tapped out. I don't want to do this. I'm gonna go be a stage hand. I don't want to do this. I don't want to talk to people. I'm afraid of people. I'm going to walk away from everything that this was and is.'
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