A Quote by Georgia Toffolo

I'm very conscious that I've spent my whole adult life in the public eye. — © Georgia Toffolo
I'm very conscious that I've spent my whole adult life in the public eye.
I spent my whole life avoiding the public eye. At these food shows, I'm open quarry again.
Yeah I grew up in the public eye. I became a man in the public eye, which is kind of a bizarre thing to come to terms with. Now I'm in my late 20s and I was in my early 20s when I became recognizable. But I think 'Moneyball' represents a very strong shift in my career and becoming an adult and a man.
It's actually not very hard to re-set between the adult novels and the ones for younger readers. The narrative voices are very similar, the smartass attitude, the environmental battles. Kids love books that are irreverent and challenge authority, when authority is arbitrary, greedy or foolish. They also love it when you make fun of grownups, and I've spent my whole life as a writer doing that.
I'd spent my whole adult life considering myself an independent entity, my life filled by work and friends and family. Suddenly I had a male partner, someone I woke up with and went to sleep with every night.
I'm never really conscious of saying, "I'm going to take on a specific role to combat a certain image in the public eye." I think that's pretty manipulative and transparent to the public anyway.
I spent close to a decade as an undercover officer in the CIA and have spent most of my adult life collecting intelligence and protecting sources and methods.
Fame is not all it's cracked up to be, and I felt self-conscious in the public eye.
Fundamentally, I do a job at which I can make a living and I like it. That's the bottom line. I still really enjoy it. I like getting up and going to work. I've spent my whole adult creative life doing this.
I've spent my entire adult life teaching at colleges of various kinds, all of them very different from Yale, and I have a fairly cynical perspective on what elite institutions - and the privileges they embody - represent in America.
At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.
There's another weight of us being in the public eye, which is this presumption that, because your work and your promotion work is very public, your private life should be, too.
It was my whole life; I spent all my time dancing, and I loved it very much.
To me the biggest irony of this lifetime that I'm living is that for someone who thrives in the public eye in the creative ways that I do, I actually don't enjoy being in the public eye.
For Sabina, living in truth, lying neither to ourselves nor to others, was possible only away from the public: the moment someone keeps an eye on what we do, we involuntarily make allowances for that eye, and nothing we do is truthful. Having a public, keeping a public in mind, means living in lies.
Some people manage to make that transition from child actor to adult actor seamlessly. But I felt that if I spent my whole life on a film set without taking a few years to do something else, all I would ever know about was film sets.
I've spent my adult life in the national security realm.
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