A Quote by Laurence Fishburne

There's a bunch of plays that I never got to do because I was either too young or too old for the parts, like 'Slow Dance on the Killing Ground' and 'Dutchman.' For 'American Buffalo,' I was the wrong color.
Never say you are too old. You do not say it now, perhaps; but by and by, when the hair grows gray and the eyes grow dim and the young despair comes to curse the old age, you will say, "It is too late for me." Never too late! Never too old! How old are you--thirty, fifty, eighty? What is that in immortality? We are but children.
I got into dialogue because my parents began taking me to see plays from when I was very young. Too young, often, to understand the play I was watching: Who's Afraid Of Virginia Woolf when I was nine years old; That Championship Season when I was ten years old. But I loved the sound of dialogue; it sounded like music to me and I wanted to imitate that sound.
She started thinking about all the euphemisms for death, all the anxious taboos that had always fascinated her. It was too bad you could never have an intelligent discussion on the subject. People were either too young or too old, or else they didn't have time.
You size up someone physically in less than one second - too tall, too short, too fat, too thin, too old, too young, too stuffy, too scruffy.
I was always too afraid to slow dance. But I do remember watching people slow dance. I was the guy on the sidelines. At the school dance, I was usually in the band, playing.
I was too old, too young, too fat, too thin, too tall, too short, too blond, too dark - but at some point, they're going to need the other. So I'd get really good at being the other.
Let no one be slow to seek wisdom when he is young nor weary in the search of it when he has grown old. For no age is too early or too late for the health of the soul.
I'm always trying to get to a danger point in color, where color either becomes too sweet or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful, and the carrier of everything that a painting has to have: contrast, drama, austerity.
We are all too often told by someone that we are too old, too young, too different, too much the same, and those comments can be devastating.
As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.
You're never too young or too old to make your own kind of mark in your own kind of time. You're never the wrong age to release the power within you to create the life you deserve.
Neither one should hesitate about dedicating oneself to philosophy when young, nor should get tired of doing it when one's old, because no one is ever too young or too old to reach one's soul's healthy.
But what I really long to know you do not tell either: what you feel, although I've given you hints by the score of my regard. You like me. You wouldn't waste time or paper on a being you didn't like. But I think I've loved you since we met at your mother's funeral. I want to be with you forever and beyond, but you write that you are too young to marry or too old or too short or too hungry - until I crumple your letters up in despair, only to smooth them out again for a twelfth reading, hunting for hidden meanings.
Because things like this you can only ssay once. And you either get it wrong or right, it's the end either way, because it's too hard to ever try to say again.
It's impossible to say a thing exactly the way it was, because of what you say can never be exact, you always have to leave something out, there are too many parts, sides, crosscurrents, nuances; too many gestures, which could mean this or that, too many shapes which can never be fully described, too many flavors, in the air or on the tongue, half-colors, too many.
You're never too old to start learning, and you're never too young to aim high and achieve great things.
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