A Quote by Greta Gerwig

When I felt like I was looking down the barrel of nothing on the horizon it was hard for me. — © Greta Gerwig
When I felt like I was looking down the barrel of nothing on the horizon it was hard for me.
It is hard to convince people that you mean them well if you are looking at them down the barrel of a gun.
He was looking at me, jsut as I'd thought he would be, but like Bert's, his light was not what I expected. No pity, no sadness: nothing had changed. I realized all the times I'd felt people stare at me, their faces had been pictures, abstracts. None of them were mirrors, able to reflect back the expression I thought one I wore, the feelings only I felt.
I would have done anything for him. Maybe that was my sickness. We made love in nothing places and turned the lights off. It felt like crying. We could not look at each other. It always had to be from behind. Like that first time. And I knew he wasn't thinking of me. He squeezed my sides so hard, and pushed so hard. Like he was trying to push me through to somewhere else. Why does anyone ever make love?
Walt understood all of those things, and even common things about people. For instance: Usually you get your idea of what kind of day it is by looking at the horizon, because the horizon is your eye level. So what Walt did is to eliminate the horizon.
When you turn up for work, especially with looking down the barrel of a show, you're hoping the person you're acting opposite of is going to be on your kind of crazy wavelength.
The audience may not have felt it was right, and the author may have felt a little upset, but every part I've played I've twisted around in my mind until I've made it into something of my own. Looking back over it, I didn't deliberately sit down and plan like that, but it does read like it.
You could pay a fair market price for a barrel of oil and cut 50 cents a barrel or a dollar barrel off what you're going to pay Mexico and use that money and put it towards to the building a wall. If they don't like it, too bad we're go buy the oil.
What I really felt like, though, was committing suicide. I felt like jumping out the window. I probably would've done it, too, if I'd been sure somebody'd cover me up as soon as I landed. I didn't want a bunch of stupid rubbernecks looking at me when I was all gory.
You think if you win the Olympics, you'll become a millionaire overnight. But I was still scraping the barrel, looking down the back of the settee for pound coins to buy a pint of milk.
Life is eternal; and love is immortal; and death is only a horizon; and a horizon is nothing save the limit of our sight.
Evolution is like walking on a rolling barrel. The walker isn't so much interested in where the barrel is going as he is in keeping on top of it.
It was hard, that confrontation scene [in "Fences"], that was a hard one. I felt like it was relentless, I never felt like I could just drop the ball when the coverage was on him or anything else.
There's nothing slowing down about the shift to the cloud. I don't see anything on the horizon that is changing that.
There's nothing worse than looking as if you've tried too hard or preened to within an inch of your life. If I'm wearing a strong item like a really beautiful dress, then I'll play down my shoes and accessories and make my hair really natural.
Something in my gut twisted so hard that it felt like I was being tickled by an invisible hand, and it took me a moment to realize what it was. Hope. It had been so long since I'd felt it that the sensation was like something living inside me, something wonderful waiting to break free, just like I was.
Because I was a chemistry student and was never supposed to be a musician, I always felt like I was an outsider looking at music going "Why is this interesting to me? Why should I be doing this?" and I never felt like I was a natural musician. It came into my life, kind of, as a conceptual problem and I think all my pieces are, in a way, looking at some issue and sometimes veering toward an inside baseball model of classical music.
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