A Quote by Kevin De Bruyne

I was nineteen when I signed and then worked with three managers and just didn't play that much. — © Kevin De Bruyne
I was nineteen when I signed and then worked with three managers and just didn't play that much.
Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.
Maybe other managers would see their team score one goal and then prefer to go back and counter-attack, then try to score the second goal. A lot of those managers are the best managers at the moment, but for me, it's very important to continue the way I play.
In nineteen minutes, you can mow the front lawn; color your hair; watch a third of a hockey game. In nineteen minutes, you can bake scones or get a tooth filled by a dentist; you can fold laundry for a family of five. In nineteen minutes, you can stop the world; or you can just jump off it.
Everything has its place and time. We men of the nineteen-forties can smile at the mistakes of the nineteen-thirties, and, in turn, the men of the nineteen-fifties will laugh at the mistakes of the nineteen-forties. It is this historical perspective that shall save us.
Anything that I wanted to do in my career that I wanted to do always worked out. The stuff I got talked into always failed. All the stuff I was talked into, by brilliant managers, because it always came down to, "Know how much money you'll make?" And then it would just fail.
I wanted to play in bands and get signed by a record label and tour the world and stuff, but that never really worked out.
If you become their property it is much clearer for you, for the club, for everything. It was a great experience to play in three different teams, different leagues, different experiences, but if I wanted to improve I had to break this cycle and make my own way. That's why I signed this contract to come to Stoke.
I felt shaky, then 'Hungama' worked, and I signed films left, right and centre to kill my insecurity.
I had two or three jobs at the same time just I could afford myself and pay rent and school. Then I had a tryout with WWE, and I got signed right away.
I'll say about Fueled By Ramen is, I don't know what anyone else's experience has been, but we signed to them as Fun. We already had a fanbase, we already had music out there so when they signed us they were signing our vision. I always think it's so weird when people think that Fueled By Raman are trying to change us or mould us into something else, as we weren't a bunch of kids playing in a garage who joined a label and then collectively worked on a vision, like, they signed us with the intention of letting us be Fun.
I had what Leicester gave me but then I worked with a guy around my house, a guy that my agent recommended. I worked with him for the three weeks solid, leading back into pre-season. We were just doing horrible running. Minging running! It wasn't pretty to be fair!
I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.
As a whole, the managers today are different in temperament. Most have very good communication skills and are more understanding of the umpire's job. That doesn't mean they are better managers. It just means that I perceive today's managers a bit differently.
I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
Just because someone signed up for something or takes advice or has managers or works in entertainment or show business with other people doesn't mean they don't have a brain, okay? It doesn't mean that they're not a real person.
My career path is the weirdest thing. I was a hairdresser, I worked at Marvel for a few months, and then I was signed to a DC exclusive for eight years.
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