A Quote by Milo Ventimiglia
I don't like to have to depend on someone else to reset the props. It's like, "No, you've gotta take responsibility for it." I know how things fit and feel. To reset that stuff myself, it's easy. The prop guys are hilarious because I'll have one set of gloves and I'll keep reusing them to get the most out of it. They're like, "We've got boxes of these."
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Every time you want to reset your set and pull walls out and reset the lighting, you're burning up half an hour to an hour, and when you're trying to keep to a schedule, you're constantly having to reassess what's worth it and what you're going to have to give up in order to keep on schedule.
Some guys play so straight, and that may be their thing; like, a lot of guys are good playing like that. I can't play like that. I have to flair out. I have to yell. I gotta scream. I gotta talk trash - that's how I get myself going.
I'm trying to un-polish, like 'reset' myself. I'm trying to take myself back to when I first came in. That's what the fans miss and that's how they accepted me, so I kind of want to go back and give them that.
Hillary Clinton's top priority when she became secretary of state was the Russian reset. The Russian reset. After the Russian reset, the Russians invaded Ukraine and took over Crimea.
Every time I get a chance to be out in the ocean, it's like hitting a reset button for me where I just feel alive again, in perfect balance. Music can give me that, as well, but not as easily. The ocean is the way I know how to find it almost daily.
A lot of times, I get asked, 'Do you feel you have a responsibility to young girls to be a role model?' I don't see that happening as much to guys. I feel like, just because I'm a girl, I'm supposed to take more responsibility? Is that how it works?
Mainly I got to know about the atmosphere in the East Germany and how people felt, because I never experienced it physically. You can't talk, because everywhere there's someone listening in on everything you say, and you might get things wrong and be questioned or they come up and say, "Well, actually, we want you to work for us and if don't, we'll pressure you," and stuff like that. Living in a country like that, how do you get around it and still keep your dignity? I think it's one of the main questions.
I've always got stuff in my head in case I meet somebody like Steven Spielberg or someone like that, where I can hopefully say something to them that nobody else has ever said and get a laugh out of them.
When that word came down that the company had decided that we were going to go theatrical, we hooped and hollered and wahooed and all of that stuff, but the good thing is we didn't have to change anything. It's not like all of a sudden we had to reset, like "Oh my gosh, we're going to theater. We've got to make this better. We've got to make this bigger. We've got to add..." It was all done.
I feel like I gotta get out of myself sometimes. I think I'm in my own world sometimes. I don't like to let other people come into my own world. Especially with my teammates, my coaches, I should be doing that. The important people that need to know how I'm feeling. I can do a better job of telling them exactly how I feel.
I like it when people are kind and I like people who are looking for collaborators. Sometimes you can feel like a moving prop, and that could be amazing, you can be a prop in somebody's incredible vision, but I'm more interested in people who are looking for actors they can collaborate with and make something together with. I like stretching myself, I like trying new things out, but I'm really interested in working with directors who have a very specific style and a unique way of working.
Saturdays are set for antique shops. Williamsburg in Brooklyn has some good ones. I get in there and start meddling around with dusty boxes and rickety, worn-in stuff. I like it when I find something with someone else's name on it.
I ain't got no problem in Boston, I especially like the attention. I know that I'm one of the top guys in this game and all the attention is on me, I got a lot of people on my shoulder but I'm human. I like to go. I like to have fun. I like to do this and that but I gotta represent Boston and the Red Sox in every way that I do outside this game. ... Like I said I get paid to play baseball no [matter] where I go to play I still gotta go and perform even if I like it or not.
Nobody wants to admit to this, but bad things will keep on happening. Maybe that's beause it's all a chain, and a long time ago someone did the first bad thing, and that led someone else to do another bad thing, and so on. You know, like that game where you whisper a sentence into someone's ear, and that person whispers it to someone else, and it all comes out wrong in the end. But then again, maybe bad things happen because it's the only way we can keep remembering what good is supposed to look like.
I like the communication and trust that comes from a long-term relationship. When you really know people as musicians and as people, you feel you can really count on them. That frees you to take more chances and ... it takes the music to a higher level. It translates into a better product for audiences. There are two levels to these relationships. The first level is being with guys for the first few years, you're getting used to guys - he's got this to offer, he's got that to offer, I don't like this, I do like this. You both praise them and are critical as you get to know one another.
I don’t want to love him—this would be so much simpler if I didn’t. But I do. He’s funny, and passionate, and strong, and he believes in me more than I even believe in myself. When he looks at me, I feel like I could take on the whole world and come out standing tall. I like myself better when I’m with him, because of how he sees me. He makes me feel beautiful and powerful, like I’m the most important thing in the world, and I don’t know how to walk away from that. I don’t know how to walk away from him.
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