A Quote by Maryse Mizanin

I always knew I wanted to work in TV or be an entertainer. Even though in 2006 I couldn't even speak English yet, I was determined to work in the WWE so I auditioned. — © Maryse Mizanin
I always knew I wanted to work in TV or be an entertainer. Even though in 2006 I couldn't even speak English yet, I was determined to work in the WWE so I auditioned.
I knew that I always wanted to work even after I got married.
I think even before I knew I wanted to be a rapper, I wanted to be an entertainer. I was really into Michael Jackson as a kid.
Even though I had a great deal of respect for children's TV and theatre, it wasn't my intent to specialize solely in that area. I did indeed want to work on shows like "Sesame Street" and I am honored to be even a small part of that legacy, but I also wanted to do characters that had wider vocabulary and satirical humor.
Even though many Indians can read or speak English, for most, it is not their first language. At the office, we speak in English, but we consume our culture in our own language.
I brought in two genius guys from Korea. Guys who did my favorite movies like Oldboy and The Man from Nowhere. It was fun working with them. Even though they don't speak Japanese and I don't speak Korean, I knew from day one we were speaking the same language because they love my work and I love theirs. We instantly connected. There was zero frustration.
I wasn't that academic, but I always made sure I was earning money. I never wanted to put all my eggs in one basket. Even when I started doing music, my parents were like, 'You need to work; you can't just live off music.' I always knew that. So I worked until I knew I was going to be financially okay.
I learned English kind of late. I remember when I got my first opportunity to work in America, I didn't speak a lot of English, so I only really knew my lines for the movie I was doing.
The work-life balance is a harsh reality for so many women, who are forced every day to make impossible choices. Do they take their kids to the doctor...and risk getting fired? Do they work weekends so they can afford to send their kids to better childcare...even though it means even less time with their families? Do they take another shift at work, so they can pay for piano lessons for their kids...even though it means they have to stop volunteering for the PTA? It just shouldn't be this difficult to raise healthy families.
Even though I have spent literally years of my life trying to learn another language, any other language - and even though I have in the past claimed in several key professional contexts that I speak other languages - I am in fact still trapped inside the bubble of English.
God is at work in all the circumstances of your life to bring out the good for you, even if you had never heard of Romans 8:28. His work is not dependent upon your faith. But the comfort and joy that statement is intended to give you is dependent upon your believing it, upon your trusting in Him who is at work, even though you cannot see the outcome of that work.
I was never on the side of the teachers at school. Even though I put all the work into getting the main role in the end-of-year musical when I was 11, they didn't give it me, even though they knew I should have had it. That sort of drove me into am dram and getting the main part in another production. And I did.
To write or even speak English is not a science but an art. There are no reliable words.... Whoever writes English is involved in a struggle that never lets up even for a sentence.
I've always been very ambitious, and I always knew that I wanted something else. Cuba was a good start, but I knew I wasn't going to develop a real career, and I wanted to get closer to filmmakers that I wanted to work with.
For some reason, that I can’t really explain, at the beginning of Radiolab, it always felt like life or death. Even though it was just a radio show. Even though no one was listening. And I am not quite sure why… but it may have to do with that radical uncertainty you feel when you are trying to work without a template.
The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.
Curiously enough, the only two plays that I've done very much revision on were the two adaptations - even though the shape of them was pretty much determined by the original work. With my own plays, the only changes, aside from taking a speech out here, putting one in there (if I thought I dwelled on a point a little too long or didn't make it explicit enough), are very minor; but even though they're very minor - having to do with the inability of actors or the unwillingness of the director to go along with me - I've always regretted them.
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