A Quote by L. M. Shaw

There is a great difference between a young man looking for a situation and one looking for work. — © L. M. Shaw
There is a great difference between a young man looking for a situation and one looking for work.
When I talk to a man, I can always tell what he's thinking by where he is looking. If he is looking at my eyes, he is looking for intelligence. If he is looking at my mouth, he is looking for wisdom. But if he is looking anywhere else except my chest he's looking for another man.
Consider the difference between the first and third person in poetry [...] It's like the difference between looking at a person and looking through their eyes.
The biggest difference between L.A. and Edmonton was that instead of people looking at me I was looking at them.
There's something always instinctively visually right about nature. There's no difference, to my eye, between looking at a great painting and looking at nature. Because painting, when it's great, has the same immutable rightness, unquestioned rightness, about it.
In my work, we're not looking at an icon, we're not looking at a sign, we're not looking at a representation. We're looking at something. I do have this feeling of trust that people can read it for themselves.
To stick to the present situation would be something like a man who was observed in Times Square looking earnestly along the pavement. He was asked what he was looking for. He said "I lost my watch."
In comparing these two writers, he [Samuel Johnson] used this expression: "that there was as great a difference between them as between a man who knew how a watch was made, and a man who could tell the hour by looking on the dial-plate." This was a short and a figurative statement of his distinction between drawing characters of nature and characters only of manners, but I cannot help being of opinion, that the neat watches of Fielding are as well constructed as the large clocks of Richardson, and that his dial plates are brighter.
Sire, you are looking at a plain man, and I am looking at a great man. Each of us may benefit.
It's not like I'm dying to do work that's taken seriously, and I'm not looking to become a thespian. It's not what I'm looking for; I'm just looking to do quality work.
There was a difference between people looking at you because they wanted to be like you, and people looking at you because your misfortune brought them one rung higher.
What I'm looking for is the variety of choices and the opportunity to work with great directors - that's what I'm looking for.
The difference between "winners" and "losers" is not whether they face obstacles and setbacks - we all do, and it is inevitable that plans do not unfold exactly as imagined or that unexpected events surprise us or that a few mistakes happen. The real difference is that "winners" bounce back from a fumble or a loss by refusing to panic, analyzing the situation and looking for positive actions they can take to correct the problem, and then go on to resume winning.
When I interview people that want to work with us, I often disregard their resume, because a piece of paper, it doesn't tell me really who they are. I'm looking for honesty, vulnerability. I'm looking for strength, I'm looking for weakness. I'm looking also for someone that wants to learn and is excited about learning.
Looks are temporary and don't mirror what's inside. And usually, a great looking man is so vain. Maybe most good-looking women are too. I hope I'm not!
Mothers know the difference between a broth and a consommé. And the difference between damask and chintz. And the difference between vinyl and Naugahyde. And the difference between a house and a home. And the difference between a romantic and a stalker. And the difference between a rock and a hard place.
It's quite flattering to have Leonardo DiCaprio play you in the movie. He's a great-looking young man.
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