A Quote by Nicolas Boileau-Despreaux
Now two punctilious envoys, Thine and Mine, Embroil the earth about a fancied line; And, dwelling much on right and much on wrong, Prove how the right is chiefly with the strong.
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I’ve learned many things from him [George Soros], but perhaps the most significant is that it’s not whether you’re right or wrong that’s important, but how much money you make when you’re right and how much you lose when you’re wrong.
I have always suspected that the reading is right, which requires many words to prove it wrong; and the emendation wrong, that cannot without so much labour appear to he right.
It's not whether you're right or wrong that's important, but how much money you make when you're right and how much you lose when you're wrong
You guys are always going off about how much money you have. Do you realize what's going on in this world right now?' All these black rappers? African rappers? Talking about how much money they have. Do you realize what's going on in Africa right now? It's just like, you guys are disgusting. Talking about billions and billions of dollars you have. And spending it frivolously, when you know, the Motherland is suffering beyond belief right now.
Keep walking. Hot night right now, right here. All you have is what you are. All you want is much too much. All you get is so much less. All you feel is nothing. All you see is darkness. All you know is senseless and all you can do about it is ride.
Occasionally we all do wrong things from right motives. Only time can prove us right or wrong. The past is the past. Nothing can change it now, and who is to say that it was all wrong, anyway?
I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.
After all, when we were children, when things went wrong, there wasn’t much we could do to help put it right. But now we’re adults, now we can. That’s the thing, you see? Look at us, Akira. After all this time, we can finally put things right. Remember, old chap, how we used to play those games? Over and over? How we used to pretend we were detectives searching for my father? Now we’re grown, we can at last put things right.
When I was young and bold and strong, The right was right, the wrong was wrong. With plume on high and flag unfurled, I rode away to right the world. But now I’m old - and good and bad, Are woven in a crazy plaid. I sit and say the world is so, And wise is s/he who lets it go.
At the end of the day, nobody has higher expectations for me than myself. I don't really try to prove anyone wrong anymore as much as I try to prove myself right.
Even if you tell yourself "Today I'm going to drink coffee the wrong way ... from a dirty boot." Even that would be right, because you chose to drink coffee from that boot. Because you can do nothing wrong. You are always right. Even when you say, "I'm such an idiot, I'm so wrong..." you're right. You're right about being wrong. You're right even when you're an idiot. No matter how stupid your idea, you're doomed to be right because it's yours.
If I see that something is wrong, I don't care who says it. Whether it's a Republican or Democrat, the left or the right. If they are on the opinion of the right thing, that's what I will talk about. I won't proselytize or make the strong things to influence other people about any particular politics, except the decency of things, the logic of things. That's why I don't get that much involved in politics directly.
All parents believe their children can do the impossible. They thought it the minute we were born, and no matter how hard we've tried to prove them wrong, they all think it about us now. And the really annoying thing is, they're probably right.
I've learned when to get out. I've never wasted too much time with the wrong person, and that's one thing I'm proud of. The longer you're with the wrong person, you could be completely overlooking or not having the chance to meet the right person. And if it doesn't feel right, it isn't right. How do you know if something feels right? I think the great defining factor for me is whether I want more. When they drive away, do I wish they would turn around at the end of the street and come back? Or am I fine that they're going home?
There are two ways, one is right; the other is wrong. If your work is only about right, then it is wrong.
Perhaps adding a line or two of dialogue to try to better capture an emotion. But I've found that if the story isn't there in the beginning, right from the start, I generally can't beat it into shape no matter how much rewriting I do.
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