A Quote by Jack Grealish

I was the kid who was waiting outside the ground for autographs. — © Jack Grealish
I was the kid who was waiting outside the ground for autographs.
As a kid growing up in California, I collected autographs.
I wasn't your average kid. I was signing autographs in Japan at 12.
You know, I don't turn down autographs. I try to sign as many autographs as I can.
I'm a dirty kid, I like to be outside, I like to run about, I like to get messy. So I spent a lot of time outside as a kid, skating and just being a disaster.
I try to sign for as many kids as possible. Kids come first, and I'll always sign for a kid before an adult. It's funny, because I was never big into autographs as a kid. The only player who I ever wanted an autograph from was Dave Winfield.
People definitely wait outside my house, hotel, apartment, whatever, asking for hugs or autographs.
On dispersive ground, therefore, fight not. On facile ground, halt not. On contentious ground, attack not. On open ground, do not try to block the enemy's way. On the ground of intersecting highways, join hands with your allies. On serious ground, gather in plunder. In difficult ground, keep steadily on the march. On hemmed-in ground, resort to stratagem. On desperate ground, fight.
I'm much more of a kid now than I was when I was a kid. I was the kind of kid who was valedictorian, a straight-A student. My mom used to say, "Please stop studying and get outside."
I get really restless when I haven't worked for a day and a half. I have a recurring dream that people are lined up next to my bed, waiting for autographs and taking pictures of me!
The fans are always at the hotel waiting, they like to get pictures and autographs. I enjoy it all, the displays of love and support at the hotel and the shows.
I truly believe that we each have a House of Belonging waiting for us. Waiting to be found, waiting to be built, waiting to be renovated, waiting to be cleaned up. Waiting to rescue us. Waiting for the real thing: a grown-up, romantic, reciprocal relationship.
I went in for an audition [for As Good As It Gets], but the audition was with James L. Brooks. I was the first girl in that morning, and there was a whole waiting room of girls waiting to read for it. So I did my audition, and he asked me to step outside. So I stepped outside, and when he asked me to come back in, he looked at me, and he said, "Well, I'm very excited to work with you on set." And I was, like, "What?" I thought it was a Hollywood blow-off.
If I've done a gig and at the end there are people waiting for autographs, they always seem nervous, but they probably don't realise that I'm more nervous than them. I get very embarrassed.
I have spent probably years of time waiting in studio lounges - waiting on a mix, waiting on my time to sing, waiting on, waiting on, waiting on. That's just the nature of life.
I had a bilateral lisp, and I was overweight. I was the kid who played with the flowers on the ground in the outfield during baseball. I was that kid.
Mostly, I am waiting. Got to finish the edit, I am waiting. Dubbing must get over, I am waiting. Waiting for shoot. Waiting for the set. When you are waiting, your mind isn't relaxed enough to watch a film.
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