A Quote by Henrik Larsson

The dreadlocks were easy to maintain: I got up in the morning and flicked my head. If they got too big, I'd pull them apart every now and again. In the end, I got too old for them.
"Statues are too much like dolls, and dolls are creepy. You keep expecting them to blink. And the ones that smile, like this?" Eve kept her lips tight together and she curved them up. "You know they've got teeth in there. Big, sharp, shiny teeth." "I didn't. But now I've got to worry about it."
You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.
After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.
You can live by biblical principles, and you can teach by those principles and still be a winner. So many coaches think you've got to kick your players in the rear end. You've got to cuss them out. You've got to hit them across the head. No. You don't have to do that.
You got to have two things to win. You got to have brains and you got to have balls. Now you've got too much of one and not enough of the other.
We have got a - we've got a good federal work force, but we have too many people, and we're paying them too much money.
At the end of the day, my life isn't about other people's work. I've got to stop giving stuff away. I've got my own stories to tell, and a great need to tell them. I've got these images, these thoughts in my head, and I need to find a way to cope with them.
Every 20 minutes you've got to have a bump, you've got to have a change in course, you've got to unsettle the audience. It can't be too predictable so something has to happen. I think that was something that Hitchcock did very well too. You couldn't let an audience feel too settled in.
Al Capone's my uncle. The old days were a lot different. The Latin Casino was the big time. When I got there I figured that I was doing pretty good, because remember, I started in nothing but after hours joints. I can't even name them now, but that's how I got noticed.
The 'Degrassi' producers were very supportive. They sent me flowers when I got 'The Vampire Diaries,' and then as soon as it premiered and got the great numbers that it did, I got another large bouquet of flowers from them. Every time I go back to Toronto, I see them and hang out with them.
Every American at some point has got to make the connection between their own hopes and dreams and who is elected to office. It's essential. It's very easy to pull the covers up over your head and say, "I can't handle it. Too much." But we just have to handle it and we have to accept that it's our job. Each of us. Nobody is going to take care of it.
Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.
At the end of the day, my life isnt about other peoples work. Ive got to stop giving stuff away. Ive got my own stories to tell, and a great need to tell them. Ive got these images, these thoughts in my head, and I need to find a way to cope with them.
Think of what's stored in an 80- or a 90-year-old mind. Just marvel at it. You've got to get out this information, this knowledge, because you've got something to pass on. There'll be nobody like you ever again. Make the most of every molecule you've got as long as you've got a second to go.
You can't be a good actor if you get too affected by fame. Because then you're not real, and you're not really wanting more. You look at a lot of actors who, before they were famous, did a lot of amazing work, and once they got too big, it just got off.
?It isn't enough to stand up and fight darkness. You've got to stand apart from it, too. You've got to be different from it.
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