A Quote by Cornelia Funke

Everyone is small at night. — © Cornelia Funke
Everyone is small at night.
When doing theater, you have to find great satisfaction in the small things. There's going to be a repetition and a redundancy night after night, but it's the small variations in those moments - a word, a tone of voice, the smallest sense of enlightenment that can happen in an instant onstage - that will be the most rewarding.
The actual communicative value of what we say is usually quite small. I've lived for times in small, isolated fishing villages, where everyone knows everyone each other and everyone knows what's going on and everyone's watched the same TV programs and, really, there's not a whole lot of new information to convey. But there's still a lot of talking. What's said doesn't seem to matter; that you say it, and who you say it to, and how you say it is what matters.
Only a very small proportion of us take those excesses with us into later life. In the age before everyone had a camera, it was worthwhile, in my opinion, to record those excesses. Sometimes, many times actually, the young people I photographed were only dressed that way for one night; that one night that they got snapped by me.
The small man builds cages for everyone he knows While the sage, who has to duck his head when the moon is low, Keeps dropping keys all night long For the beautiful rowdy prisoners.
Because everyone grows up together in my small hometown, everyone knows everyone else. And there are such large extended families that a lot of people are related to each other.
It's obviously a blessing to be able to play on Christmas Night, the one big night everyone watches.
Oscar night is a ridiculous night where you go to these parties and you see everyone that you've ever wanted to work with and admire.
In a small town, everyone works together and does life together, and because of that everyone takes care of each other. That's Iowa. Whether it's Des Moines or Sioux Center, Decorah or Davenport, Iowans exhibit those small-town values. They work hard, but not so much for themselves. They're ambitious, but not at the expense of others.
When you're playing the same dirty dozen night after night, the moments that keep it fresh are those when you just let go and trust everyone.
I dreamed night after night that everyone in the world was dead excepting myself, and that upon me rested the responsibility of making a wagon wheel.
The bigger the movie is, the more agendas everybody has. It becomes more of a job for everyone, but on these small movies, you're making them because you want to make them. You're there because you want to do it. When you make a small movie, the one thing you have is that everyone is unified. That's what you need. You want everybody to want to be there and be a part of the project. If you can cultivate that, everyone works hard for it.
I will say this: the first film that I was on was 'In the Heat of the Night', that Norman Jewison directed with Sidney Poitier. I'm on the set, and I'm totally taking it for granted. Everyone is working for everyone else and pulling for the very best, and it makes everyone better because you feel that effort and concern and appreciation.
The truth is, for highly competitive bodybuilders, everyone eats the same - oatmeal, chicken, rice - and everyone cuts carbs out at night.
In the end, everyone loses everyone. There was no invention to get around that, and so I felt, that night, like the turtle that everything else in the universe was on top of.
Ah, it was a fine night, a warm night, a wine-drinking night, a moony night, and a night to hug your girl and talk and spit and be heavengoing.
You've got a huge American population, you've got a small, small, small subset that is radicalized, and you have an even smaller subset that actually takes action. And you can't cover everyone who has some contact, someone bad. What you need is offense overseas, defense at home with intelligence and law enforcement, and really deep engagement with these communities.
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