A Quote by Adam Rippon

I can't tone it down. I'm being me and being myself. — © Adam Rippon
I can't tone it down. I'm being me and being myself.
I can't tone it down. I'm being me, and I'm being myself, and I'd be doing myself an injustice, and I'd be doing an injustice to those kids who don't feel like they're comfortable to be themselves.
The director calmed me down and told me I was being too hard on myself. He went on to say that I wasn't quite as bad as I thought, but needed to tone things down a bit.
I don't try to worry about sounding like anybody because I know I have my own tone, my own sound. It's just about being honest in a song and trying to relate myself or how to basically break it down as simple as possible for someone to try to understand it. Not being too deep, not being too shallow at the same time.
I get more out of life just being myself, by just being a human being. Not by being a rock star, not by being whatever. Sometimes I act like a jerk, but I think people respect me for being myself. That's the ultimate thing about the Smashing Pumpkins.
I'm very hard on myself. I think that drives me because I don't want to let people down or let myself down. That fear of failing drives me from being complacent.
What I did, you know, being away from my family, letting so many people down. I let myself down, not being out on the football field, being in a prison bed, in a prison bunk, writing letters home, you know. That wasn't my life.
I had everything I'd hoped for, but I wasn't being myself. So I decided to be honest about who I was. It was strange: The people who loved me for being funny suddenly didn't like me for being... me.
Being interviewed is an odd experience for me because I was an actor a long time before anyone ever asked me a question about myself. When I started being interviewed, I definitely felt I was being asked to defend or explain myself.
I find myself often moved to tears by what is being written in front of me. Sometimes, I just sit on the couch and write the words down and cry because the beauty of the thoughts and how exquisitely they are being expressed.
I don't give up; I go down fighting in everything I do - being a mother, being a wife, being a wrestler, being a Marine, being a sister.
I was very excited to hone in on John Goodman. Casting John first really set the tone. He's very good at being terrifying and being hilarious, and I loved the idea of that character not being merely 'moustache-twirly'. I enjoyed being scared by him.
To me, 'Crash Love' is the most stripped-down record that we've made since the early Nineties, and I would say that 'I Hope You Suffer' is indicative of the overall tone of this record in being the opposite of that.
I don't like being recognised, I have no interest in being famous at all, I just do what I do. If I could be like Captain Kirk and beam myself up and then beam myself down, I would!
You have to find the tone of the piece and modulate that. There are ways to indicate that - I try to incorporate the biggest range I can within the story, going from humorous to serious without it being jarring. That's the hardest part, to keep that balance. It requires being constantly aware of where you are in the story. You can't really do that in a movie: You can't slightly modulate the tone by the way the character's eyeballs look in one certain scene.
I'm passionate about being true to myself, sending good energy to the people around me, traveling, staying inspired, being a good friend, being a good daughter, being a good sister.
I don't view myself as a musician anymore - I view myself as a human being that functions as a musician when I'm functioning as a musician, but that's not 24 hours a day. That's really opened me up to even more perspectives because now I look at music, not from the standpoint of being a musician, but from the standpoint of being a human being.
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