A Quote by George Osborne
I think people who sit around and are always yearning for the next thing are not always the happiest people.
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I'm happiest in nature, in trees, rivers, streams, and I'm happiest around my kid - you know that's the funny thing, he is not always in the best of moods, but I am always happiest around him and in nature. Around my family is where I am happiest.
I've learned from my pets that it's okay to sit around, and people don't love you any less if you sit around all the time. In fact they might love you more, 'cos they always know where you're always going to be: you're always going to be laying in bed.
But I certainly know a lot of people that existed at that level and are always kind of pining for more, always thinking that the next big break, the next opportunity, the big role are just around the corner of the next audition.
[People] might have a different word for the yearning of the heart and the yearning of the spirit that is looking for what I call "God," it still is the same thing. It is the heart's yearning to know the origin of its mystery. It's a heart's yearning to know the power of the divine in each of our lives. It's a heart's yearning to be connected to that.
The boring people are the worst. I think it's obvious, I think people have always had phobias about flying for years even before 9/11 and everything like that. It just taps into that and it taps into who you are going to sit next to on the plane.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
We sit silently and watch the world around us. This has taken a lifetime to learn. It seems only the old are able to sit next to one another and not say anything and still feel content. The young, brash and impatient, must always break the silence. It is a waste, for silence is pure. Silence is holy. It draws people together because only those who are comfortable with each other can sit without speaking. This is the great paradox.
We're kinda always writing, so it's like we're always thinking about what's next, so that'd be a yes. We're always constantly wanting to get onto the next thing or the new thing.
I was always searching, always seeking the next big thing, because that was the thing that was going to make everything all right again. And while I was working toward it, it gave me something to think about other than that thing I couldn't put my finger on. But it always came back.
I think the Sixties in some ways is a barrier to young people today. They think of it, you know, what we're doing is not that. But it's partly the myth of the Sixties. It always felt embattled and small. It always, almost always, was a small group of people relative to the opposition around.
I was always inspired by the people I was around, like the older people spitting in my area or in Northampton, but I just always wanted to be better than the people that was around me.
We were always around my dad, so he wasn't absentee at all. I don't think it was normal, but it was exciting. You always had lots of creative people around, and my parents took us everywhere.
It always makes me laugh to think that I get to sit around and chat with people like Anne Reid and Derek Jacobi and get paid for it.
The key to life, in my opinion, is to hang with good people, to have good people around you all the time because you're always going to have some people who will try and lead you in a certain place, and when the pressure comes on, you want real tough, solid people sitting next to you.
The one thing I've always done, because I like the sound of my guitar from where I sit - meaning not in front of it - so what I do is, I put microphones around my ears. I have them around my head, too. I don't know if it's a superstitious thing, but it's actually how I recorded my first album.
When I began designing machines I also began to think that these objects, which sit next to each other and around people, can influence not only physical conditions but also emotions. They can touch the nerves, the blood, the muscles, the eyes and the moods of people.
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