A Quote by Nathan Parsons

I was so worried when I left 'GH:' so scared I'd never work again. — © Nathan Parsons
I was so worried when I left 'GH:' so scared I'd never work again.
I'm scared of the interviews...I'm scared of having to get up onstage again. I'm scared of the critique. I'm scared right now of doing this again. But that's why I have to do it, I think.
I'm not worried too much about left, right spectrum; I'm worried about what's actually going to work to help Canadians who are worried about their own jobs, about their kids' jobs.
I'm always trying to understand who I want to be, what I want, what I dream of. When I was a kid, I was really worried that my parents were going to bring me back to the orphanage. I was scared of tomorrow, scared that I was going to be abandoned again. So I tried to enjoy every minute of my life because maybe tomorrow wasn't going to happen. I think I live the same way today: scared of tomorrow. For someone who is considered a party boy, a guy who just has fun and drinks champagne, I'm really tortured.
How have I lived so long? I never worried. In the '20s, there were millions of men out of work. You couldn't get a job anywhere. I wasn't worried.
I was scared of failure, of being a one-hit wonder, never being able to write another song again, never being able to sing again. Maybe everything that I think I am and who I want to be never will happen.
I think there are a lot of Americans who are very scared, scared that [Vladimir] Putin manipulated us, worried about Rex Tillerson, the winner of Russia's order of friendship as the secretary of state.
Leaving GH was not my choice. I wanted to stay and work out a deal, and that was not an option to me.
I'm not scared to fail, I'm not scared to lose, I'm not scared to die, for that matter... It's going to work out the way it's supposed to work out.
To work and work and never mind why; if you kept looking for the why behind everything you might never work again, you might never bother to breathe again.
Acting I never worried about, but it's so strange that on-camera work is so much more technical than theatre work, which I would have never thought in a million years.
Work is rich. It can be looked at psychologically or philosophically or personally. The interpretive nature of work is different than the work itself. The interpretation of work isn't the key to understanding it. I'm worried about making a good sculpture. I'm not so worried about the interpretation of it.
When you first start writing-and I think it's true for a lot of beginning writers-you're scared to death that if you don't get that sentence right that minute it's never going to show up again. And it isn't. But it doesn't matter-another one will, and it'll probably be better. And I don't mind writing badly for a couple of days because I know I can fix it-and fix it again and again and again, and it will be better.
I left our home to work on a movie, and while I was away, my boyfriend [Billy Bob Thorton] got married, and I've never heard from him again.
I'm scared to go to library. I'm scared John Wick will show up and break my leg again.
I told myself I never wanted to rent again. Even though it's a battle, I'm lucky cause I'm living in a cheaper part of the country. I just told myself I'm never going to do this again. I'm never gonna work, I'm never going to pay somebody rent again. I'm never going to sign another lease at least.
I've never left my culture. I've left my country, but I've not left my culture. In the same way, you shouldn't be worried why George Lucas is going to the outer galaxy to make a movie. He's still making a film within his culture; he's making an American film. I go to Thailand or the Peruvian jungle, the Amazon, and I still make Bavarian films.
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