A Quote by Chris Gardner

Long before I achieved financial success and became the subject of a Hollywood film, I was a veteran, a single father, and a working person who was homeless. — © Chris Gardner
Long before I achieved financial success and became the subject of a Hollywood film, I was a veteran, a single father, and a working person who was homeless.
People talk about Hollywood as a myth, but in reality, when you make Icelandic movies and you want to get them distributed in the U.S., you're not really working with Hollywood. The movies I've been making, the first one I made, I made it with Working Title, but it was financed through Universal, so it became a Hollywood production.
The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
The Rock has come back; he's been cool with me, and I have nothing against him at all. He's achieved everything in WWE, and of course, he's achieved everything in Hollywood. It's a huge success story.
Before you ignore another homeless person on the street, just remember that that could be someone's father or someone's mother and they have a story.
I think my mother became the muse because she had everything when she was in Hollywood: she had the marriage, the success, the money, all the films she wanted to do and yet even her, she had a longing and wanted to work with a film that had meaning, something more profound. And I think that was very touching to father.
The new midlife is where you realize that even your failures make you more beautiful and are turned spiritually into success if you became a better person because of them. You became a more humble person. You became a more merciful and compassionate person.
Working families are central to our state's success, and we need to do more to support their long-term financial stability.
I've been fortunate enough to experience financial success on a large scale through both my music career and my many business ventures. With this type of financial success comes financial responsibility.
For many years I have talked about building a Hire a Veteran culture in Canada in order that both public and private sector employers understand and value military training and experience in their hiring programs. For me, this work began long before I became a Member of Parliament.
Many of my biggest business endeavors were failures before they became a success. Some failed for as long as six years before they hit. Everyone around me thought I was crazy. You just have to stay at it.
I wanted to keep the complexity of the female experience in the film as much as it is in the book, and the subject of not wanting a child is a very interesting subject, one that's not dealt with very much actually.However that complexity was not serving the story of what became the film [The Girl on the Train].
A lot of these teams really forget that part of success comes with having veteran leadership. You see a lot of teams forget that and start letting go of these old veterans. They don't realize how important it is to have a veteran voice in your locker room or on the bench. It's important to have guys who have been there before.
But the West did not last long enough. Its folk myths and heroes became stage properties of Hollywood before the poets had begun to get to work on them.
In 1958, my father invested everything he had in a business venture and became the largest automobile dealership in Chicago for Ford's new Edsel line. But Edsel sales plummeted and my father fell into bankruptcy. I watched him struggle; working long hours to protect us from poverty.
My parents and my brothers and their wives are incredible and formed me as a person long before I got to Hollywood.
I don't think one should attribute the success and failure of a film to a single actor. When you decide to do a film, you weigh the pros and cons before taking a call. Only when you run out of patience, get insecure, and feel your career is heading nowhere do you sign anything that comes your way.
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