A Quote by Jeremy Irons

Peter Brook's 'Midsummer Night's Dream,' I remember seeing. That was pretty early on. And suddenly, I realized how theatrical Shakespeare is, how alive, how wonderful it is when it's opened up by a great director and a great company.
Isn't it wonderful to be alive? You know, you can forget all about it. Then suddenly you remember, and think of all the things you can do. Here I am. I can walk around. I can talk. I can see things and remember things. I am alive. How wonderful!
I remember being really hurt by a relative of a good friend of mine when I mentioned that someone was a great wrestler - she said, 'What do you mean? How can you be great at wrestling?' I stopped them and said, 'Do you think that what I do takes no talent whatsoever?' She realized how hurtful those words were.
I loved doing Shakespeare. My two favorite roles, in fact, have been Viola in Twelfth Night and Helena in A Midsummer Night's Dream.
In an ironic twist, I now see Good to Great not as a sequel to Built to Last, but more of a prequel. Good to Great is about how to turn a good organization into one that produces sustained great results. Built to Last is about how you take a company with great results and turn it into an enduring great company of iconic stature.
I come from a great family. I've seen family life and I know how wonderful, how nurturing, and how wonderful it can be.
I remember my first review in London said I was the next Peter Brook. I said: 'No way. I'm not Peter Brook. I don't have the maturity, the experience, the intelligence. Don't burden me.'
I like it when someone tells me: 'I don't agree.' This is a true collaborator. When they say 'Oh, how great, how great, how great,' that's not useful.
I like it when someone tells me 'I don't agree.' This is a true collaborator. When they say 'Oh, how great, how great, how great,' that's not useful.
It's all very well to talk about how it would be great to have a woman driver, a woman with sponsors and marketing, that's all great but to get into that drive you have to perform. That's what I realized early on when I got into Formula One.
I love street style, seeing how girls wear pieces and how their pair accessories with their outfit. How they pair shoes with a bag and go to day to night and change things up.
Comedians act every night on stage, so they have great performing chops. They especially know how to play themselves, which is how we set 'Teachers Lounge' up.
One of the great things about Silicon Valley is, irrespective of how competitive you might be with another company or how closely you might be working with that company, there's a great sort of give and take, and camaraderie from - between - some of the executives in the valley and some of the other investors in the valley.
The issue is: how do you engage the audience? And one of the things I talk to our communicators about is: The outline is great; the stories are great. But how do you engage them? How do you make it feel like we are on a journey, not you are just up there giving me information.
Remember, how often the great art of the past didn't look great at first, how often it didn't look like art at all; how much easier it is, decades or centuries later, to adore it, not only because it is, in fact, great but because it's still here; because the inevitable little errors and infelicities tend to recede in an object that's survived the War of 1812, the eruption of Krakatoa, the rise and fall of Nazism.
How great a Possibility, how small a realized Result.
You can start with a great director and great actors and have a great script - and it still just doesn't work. It's kind of a mystery how that happens.
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