A Quote by David Linley

Californians are not so precious about their antiques, not so nervous about what others will think if they mix classic with modern, old with new. — © David Linley
Californians are not so precious about their antiques, not so nervous about what others will think if they mix classic with modern, old with new.
The shock of the way I mix patterns and fabrics can be disconcerting, but what I am trying to do is provoke new ideas about how pieces can be put together in different ways. I think this is a more modern way to wear clothes that in themselves are fairly classic.
I am a mix of both old classic romance and modern. I think it is up to what suits the two people in love best!
I also don't think all of the revenue will come from digital subscriptions. We have in the New York Times a mix of revenue sources and it will continue to be a mix for quite a while. What makes me more nervous is that we built this newsroom on a really high profit margin that has eroded significantly over the last years. I'm nervous that we won't continue to have the profit margins that allow us to have a big, robust newsroom.
A new study says that over half of all Californians are obese. In fact, half of Californians are really two-thirds of Californians.
My kind of cooking is not a single style - French, Asian, Australasian or British - it's not modern, old-fashioned or classic; it's a mix of all these things. And at its core is a boy who loved to cook with his Nanna.
I've heard people ask, What's so sacred about a classic books that you can't change it for the modern child? Nothing is sacred about a classic. What makes a classic is the life that has accrued to it from generation after generation of children. Children give life to these books. Some books which you could hardly bear to read are, for children, classic.
I do like silver. I love antiques. I collect Georgian glass at home. When you think about how fragile that it is and think about how long these things have lasted - some of it is 400 years old - I find the history of these things extraordinary.
People always seek to compare. They can take the new, but only if it is somehow connected to the familiar. We need that in our lives, the mix of the new and the old. But of course I'm flattered about the comparison with Old man and the sea. Hemingway is a great writer.
I'm not one of these people who thinks everything in the past is great and everything modern is terrible. But I do think cities should be a mix of old things and new things.
According to the latest L.A. Times poll, 75% of Californians believe the country is headed in the wrong direction. And 60% of Californians are so disillusioned, they're thinking about moving back to Mexico.
'Orphee' is, for me, about changes: about moving to a new city, leaving behind an old life in Copenhagen, and building a new one in Berlin - about the death of old relationships and the birth of new ones.
The fact that I made a special movie with an old-fashioned style - even if it's a mix between with modern and old-fashioned things - must mean I feel both ways about change. In a way I'm resisting, but in a way adapting myself to the times.
It really made me nervous to write about it [Holocaust] and to approach it, because I was nervous about how to do it respectfully, and I was also thinking about how I could add something new to something that had already been so explored.
And I also am very nervous about implants. You know, I'm just nervous about all that. So I could still do it. I could think about it. But I needed to adapt to myself.
Some will read only old books, as if there were no valuable truths to be discovered in modern publications: others will only read new books, as if some valuable truths are not among the old. Some will not read a book because they know the author: others . . . would also read the man.
I think the old classic Porsches are fantastic, with those lovely curved lines, but I don't like the modern ones at all.
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