A Quote by Christophe Honore

I wanted to show how lightness was possible in the 1960s, but how life is more difficult in the 2000s. — © Christophe Honore
I wanted to show how lightness was possible in the 1960s, but how life is more difficult in the 2000s.
One of the things I've learned - before I would go on a show, I was like, "Oh God, I hate that show" or "That show is gonna get canceled." But now after being full-time on a show, you see how difficult it is and how much work goes into it and how so many decisions are based on finances or people's schedules or talent or location issues. It's a miracle that anything gets made.
Let me show you how to drive me crazy,Let me show you how to make me feel so good,Let me show you how to take me to the edge of the stars and back again.You've gotta show me how to drive you crazy,You've gotta show me all the things you wanna happen to you,We've gotta tell each other everything, we always wanted someone to do.
We forget how the Greeks and Romans prevailed magnificently in a barbaric world and how that triumph ended-how a slackness and softness finally overcame them to their ruin. In the end, more than they wanted freedom, they wanted security and a comfortable life; and they lost all-comfort and security and freedom.
I wanted to learn how the business worked. I wanted to see how people got drafted, how players got traded, how they got picked up in free agency, how the salary cap worked, how do you manage an organization, how do you negotiate contracts. The Bulls gave me an excellent opportunity to answer all the questions that I wanted to ask.
I was very vocal about how I wanted to be portrayed on the show, and how I wanted the stage setup to be.
I wanted to show off - a simple impulse or drive; in much the same way as some kids wanted to play football, I wanted to show off. Not complicated in that sense, very natural; it just depends on how you want to show off.
What a rare gift, by the by, is that of manners! how difficult to define, how much more difficult to impart! Better for a man to possess them than wealth, beauty, or talent; they will more than supply all.
What I realized was how difficult an hour show is and how miserable you can be if you're not happy doing it.
Stuff that happens to you in your life when you're shooting a TV show, you have to be careful, because it might end up in the show. And that's what I think is the neat thing about TV: how alive it is, and how the writers respond to the stimulus that they're getting from the actual actors. Whereas a movie is more hermetically sealed.
If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.
I'm much more aware of how distraught my father could be internally. That was normal to me - the obsession with work, the crazy hours - and when I watch it on screen I really see how enveloped he was by show business to the point where he didn't develop much of another life. Everything was show business to him.
I've produced things myself, I was like telling the producers how to do the show. They really didn't appreciate that, they just wanted a dumb rocker on the show and they got some guy telling them how to do their job. So being too smart can get in the way.
If the UFC wanted to give me Warlley Alves, I would show them how chump change he is. And I'd show them how much of a fluke it was that he caught me in a lucky submission.
It has always been difficult for Man to realize that his life is all an art. It has been more difficult to conceive it so than to act it so. For that is always how he has more or less acted it.
An older guy, he's going to show you things that a young man can't show you. He's going to show you how to stay alive. He's going to show you how to turn corners where your young friends will show you how to turn right into that wall, you know what I'm saying?
The older I get, the more I think lightness of touch is an incredibly difficult thing to do.
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