A Quote by Alfred Hitchcock
I always try to look at things as though I were remembering them three years later.
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I'm definitely guilty of thinking something is funny but thinking the audience won't. Then three years later I will finally try it and it'll kill them. I got to give them more credit.
I give money to everybody. When they call, I give. And you know what, when I need something from them two years later, three years later, I call them and they are there for me.
At school he had done things which had formerly seemed to him very horrid and made him feel disgusted with himself when he did them; but when later on he saw that such actions were done by people of good position and that they did not regard them as wrong, he was able not exactly to regard them as right, but to forget about them entirely or not be at all troubled at remembering them.
Everybody has that feeling when they look at a work of art and it's right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it were being created through them while they look at it or listen to it.
It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.
Commonplace people have an answer for everything and nothing ever surprises them. They try to look as though they knew what you were about to say better than you did yourself, and when it is their turn to speak, they repeat with great assurance something that they have heard other people say, as though it were their own invention.
I always have trouble remembering three things: faces, names, and - I can't remember what the third thing is.
Looking back, I didn't realize until years later what a huge influence Red Skelton was in my stage demeanor with the band. I mean, I always liked things that were funny, and later I realized that having a sly sense of humor was a way to get attention and even respect in school.
One of the more depressing things about reading your fiction 25 years later, or 10 years later, is you realize the only things going on are things you made go on. Strange and interesting and new and wonderful things don't happen. It's the book you wrote; that's all.
My whole break-up with Amanda Holden was in the papers for three years and my dogs were photographed being taken for walks more than any in Britain. They're two Cairn terriers. I don't have them now, though, she has them.
Later on when it became a routine it was not as exciting I'll admit that. The first three years were wonderful, the rest were just money making and having fun.
Fiction that responds to recent world events is a hostage to fortune because all momentous events look very different a year, two years, three years later.
Fiction that responds to recent world events is a hostage to fortune, because all momentous events look very different a year, two years, three years later.
You've got to go for what you love and not look back 30 years, 40 years later and say, 'I never tried.' You got to try.
Marshal Petain's Vichy regime looked like that new start. A couple of years later, it wasn't so evident that he was going to be able to protect them from German extortions, and it didn't look so much as though they had won the war, either. And so by '43, a lot of people are shifting sides.
We cannot be spun, or at least we'd like to think that we cannot be. And the presidents who are trying to - too overtly to try to say, here is what you historians and what you later Americans should think of my presidency, 30 or 40 years later, they look silly.
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