A Quote by Bryan Cranston
It's mind-altering when you slip into someone else's shoes. That's psychedelic, man.
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You can't live in someone else's shoes; you've got to branch out and fill your own shoes.
The one thing you have to do if you write a book is put yourself in someone else's shoes. The reader's shoes. You've got to entertain them.
I'm influenced by the music of the '60s. It's a mishmash of everything. To me, psychedelic can be all the way to a DJ. House music can be very psychedelic. 'Flying Lotus' is very psychedelic. Even though it's urban and technological, it's also mind-expanding, anything-can-go mishmash.
You can’t make a life-altering decision for someone else and expect it to stick.
If a man has only correct doctrine to offer me, I am sure to slip out at the first intermission to seek the company of someone who has seen for himself how lovely is the face of Him who is the Rose of Sharon and the Lily of the Valley. Such a man can help me, and no one else can.
To the barefoot man, happiness is a pair of shoes. To the man with old shoes, it's a pair of new shoes. To the man with new shoes, it's stylish shoes. And of course, the fellow with no feet would be happy to be barefoot. Measure your life by what you have not by what you don't.
Every man should own a navy cashmere jacket with gold buttons, a grey suit, black shoes shoes for the city, brown shoes for elsewhere. Everything else should be simple and really well made.
Revisiting 'Leave It to Beaver,' and seeing it in the pristine visual clarity of digital restoration, are mood-altering if not quite mind-altering experiences, very much for the better.
I guess they have to label someone the sexiest person in the world, and it is always someone who is on telly even if it’s the weatherman. For a couple of years it was me and then it was someone else. It’s nicer being the sexiest man than the most ugly man. I live with it, and I don’t mind it, but I don’t go around with a big smile on my face everyday.
I think there was, like, a childhood moment where I had to pick shoes, either non-marking or marking shoes. The marking shoes were Spider-Man shoes. I'm like, 'Well, I want the Spider-Man shoes.' But I also didn't want to mark the court; I want to be able to play. I chose the generic, non-marking shoes.
As human beings, we aren't as individual as we'd like to believe we are. And I think that's what makes acting possible. Despite the fact that I have not experienced something, I have it in my human capacity to imagine it and to put myself in someone else's shoes, and to take someone else's circumstances personally.
Music therapy, to me, is music performance without the ego. It's not about entertainment as much as its about empathizing. If you can use music to slip past the pain and gather insight into the workings of someone else's mind, you can begin to fix a problem.
I needed my own territory, and I didn't know how I was going to get it. And so I took my frustrations and plugged them into someone entirely different from me. I wanted to see if I could slip into someone else's skin.
Our pointe shoes are our instruments. If something's wrong with my feet, all my mind goes there. I usually have six pairs ready. Soft shoes for one act, stiffer shoes for another, stronger shoes for a variation with a lot of turns.
Man, I live out 90 percent of my songs and the other 10 percent... once in a while, I'll put myself in someone else's shoes and try to go down that road.
The ability to walk in someone else's shoes, or in my case, play down in someone else's cleats is one of the very best things you can do. There's nobody in this world who doesn't have that voice in their head. Sometimes it's the best voice in the world, and it pumps you up, but sometimes the voice is down. I wanted my players to be able to hear my voice in their head instead of someone else's because I knew that was a narrative I could control.
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