A Quote by Annie Potts

I've always declined to speak about things I don't think are anybody's business, and what I always get from the interviewers is, 'Well, you know, we have to ask those things.' I say, 'Well, maybe you do, but I don't have to answer them.'
If people ask me, I always tell them: "Quite well, thank you, I'm very glad to say." If people ask me, I always answer, "Quite well, thank you, how are you today?" I always answer, I always tell them, If they ask me Politely... BUT SOMETIMES I wish That they wouldn't
There's always peripheral things that you like that you don't know, but starting with whatever his British influences are, are some of my favourite artists, and the American things are what I grew up on as well. In the end, for me, it's those foundations of the music business - those things that are a lot of the foundations of what music today is. You can hear a bit of all of those things that we talk about in almost all music today.
I think it's always hard for children to talk about abuse because it is only memory. I didn't carry around a tape recorder … I didn't chisel anything in stone … Anybody can look and say, 'Well how do you know for sure?' And that's one of the most painful things about it. You don't.
I think when people speak about faith, they always get stuck when they're starting to speak about the terrible things that happen in the world, and I always know, even in the Torah, they're always speaking about it, that if there is fifty percent of love, there is fifty percent of hate, they are always in perfect balance.
I like to be on TV when interviewers are good. I like it especially when it's live. When they can cut things, I don't like it as much. Sometimes they cut something and say, "Well, you would get in trouble, you would get a lawsuit." I tell them, "Well, I don't want my lawyers to be unemployed."
When you write something you know, you're making a story that will work, whether or not there's bits taken. It's always funny to me when people say, 'Well, it's clearly autobiographical,' and I say, 'Well, how do you know my autobiography?' Certainly, there are things that are connected, but I just think it's a very interesting assumption.
Books are almost always better than the movies made from them, because there are things books do well and things movies do well, but usually those things don't overlap: the same with comics and animation.
Consider the cattle, grazing as they pass you by. They do not know what is meant by yesterday or today, they leap about, eat, rest, digest, leap about again, and so from morn till night and from day to day, fettered to the moment and its pleasure or displeasure, and thus neither melancholy nor bored. [...] A human being may well ask an animal: 'Why do you not speak to me of your happiness but only stand and gaze at me?' The animal would like to answer, and say, 'The reason is I always forget what I was going to say' - but then he forgot this answer too, and stayed silent.
I often ask people if they would like to give their organs when they pass on, and they say "Well, I'm not so sure, I don't know." And I said, "Well, would you accept one if you needed one?" "Well, yeah, sure." And I say "Well, there you go - where do you get them from?".
Poor dog! I've a strange feeling about the dumb things as if they wanted to speak, and it was a trouble to 'em because they couldn't. I can't help being sorry for the dogs always, though perhaps there's no need. But they may well have more in them than they know how to make us understand, for we can't say half what we feel, with all our words.
It's like people always say, Well, does sport teach you anything in life? It teaches you certain things, but it doesn't teach you other things. It doesn't teach, as I say, very much about marriage, very much about how to make a living, any of those things.
To me, the housewife who puts her teacups unwashed in the sink because her husband won't wash them, is political. Every act is political: the things you do, as well as the things you omit doing; the things you refuse to do; the things you fail to do; the things you say, as well as the things you don't say.
You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.
You've just got to get over that mental hurdle and those battles in your own head during matches when things aren't going so well. It takes time. It's probably all things I already knew, but for someone to talk about it maybe in a different way makes you realise things.
I'm always trying to complicate things. For some reason I'll go, "Well, maybe I can get that in," and stuff like that. I always make it really hard for myself.
Panic does not help, even if you are unable to answer. Try to ask questions to the interviewers as well and it should be impressive enough.
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