A Quote by Andrew Lincoln

When I see a friend play Hamlet or see an inspirational performance, I absolutely get excited by the idea of changing things up. — © Andrew Lincoln
When I see a friend play Hamlet or see an inspirational performance, I absolutely get excited by the idea of changing things up.
Someday, I expect to see a television version of 'Hamlet' and see Hamlet come on during the intermission and hold up his sword and say 'This is made of the same fine steel as such-and-such razor blades.'
Recording can be enjoyable, but the hard thing is that you don't get any direct or immediate feedback like you do when you play live. Getting to see people's excitement and see them engage in the show makes me excited to get back out and play.
All the things people hate about touring, I'm excited for, because I've never done it before. I'm excited to see places I've never seen and be in the van and see if I get carsick while reading.
I'd really like people to see me as a real actress, which I am, but they don't. It's hard to get them to see me as a musician, they just see me as a hanger-on to the Stones, which is not what I am at all. It's a good idea, and if something like that would turn up I could do a whole television show. I've thought about playing a landlady, sort of a mad '60s lady, this absolutely insane character. I would love it. It's a great idea.
The letters, the food - I had no idea I wouldn't see a shrimp for three years. You don't look at those little things you take for granted so easy, until you get sat down, get locked up, or get into a position were you see other people who are less fortunate than you - that don't have anybody.
The way I see it, if you want the rainbow, you gotta put up with the rain. When I'm inspired, I get excited because I can't wait to see what I'll come up with next. Find out who you are and do it on purpose.
When I see other working actresses that are brown, I get so excited. I get so excited when I see Zoe Kravitz, Janelle Monae, Taraji P. Henson, Ava Duvernay, and all these beautiful women working.
I want to see my niece and nephew grow up, to see their children... I get crazy at the idea that a time will come when I won't see Daniel and Allegra anymore.
When you are at the right age to play Hamlet you are still to young and immature to play it. It is much later, when you get the life experience and the emotional power, that you understand Hamlet or Macbeth.
If you're changing the world, you're working on important things. You're excited to get up in the morning.
The way to get to the top of the heap in terms of developing original research is to be a fool, because only fools keep trying. You have idea number 1, you get excited, and it flops. Then you have idea number 2, you get excited, and it flops. Then you have idea number 99, you get excited, and it flops. Only a fool would be excited by the 100th idea, but it might take 100 ideas before one really pays off. Unless you're foolish enough to be continually excited, you won't have the motivation, you won't have the energy to carry it through. God rewards fools.
I'm always excited to see my good buddy Richelle Mead. She cracks me up. I never get to see Veronica Roth enough, either.
Everybody wants to see this fight. Everybody wants to see these fireworks. They want to see that explosiveness. They want to see me throw Khabib on his back and get that five-point motion with this U.S.A. wrestling. Because if wrestling was easy, it would be called Sambo, my friend. Straight up, I'm going mop that dude up.
We should get into the habit of reading inspirational books, looking at inspirational pictures, hearing inspirational music, associating with inspirational friends.
Exercise is like an old friend: You may not be able to see that friend all the time, but you're not mad when you see them, you're happy, and you get right back into it.
It's actually now, more common to see conceptual productions of Shakespearian, which Hamlet is played as a Nazi, or a homosexual, or whatever concept is being laid over the play, then it is to see a production of Shakespeare in which there is no conceptual overlay and the play is simply being presented on its own terms.
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