A Quote by Renee Fleming

Some of my first teachers were incredibly tough. You could never sing more than three words without being stopped and having to do it over 20 times. I loved that - that sort of process of dissecting and trying to figure out and master this incredibly mysterious instrument.
People being incredibly rude and playing music incredibly badly and being incredibly obnoxious has always been a teenage sort of thing.
Even the thunderous master-blasters, like Andre Russell and MS Dhoni, men who now make scoring more than 20 runs per over look simple, often thrive on the right side of an incredibly slender gap between six and out. They are not more lucky than anyone else. They are more brilliant.
Acting is one element in a film. Directing is sort of the painter using all of those elements - sound and music and camera and putting it all together. And that can be fun and exciting. If you fail, it's incredibly upsetting - much more upsetting than when you're an actor. But when you succeed it's incredibly, incredibly exciting, so I like the risk of it all.
For me, obviously anything that reduces the amount of acting required and makes the process more of an experience, rather than having to synthesize, is incredibly helpful. There were definitely some hardships and some challenges, but eventually all of those hardships and challenges had a positive effect on the work.
When I first read 'Outlander' a few years ago, I was shocked to find that Jamie was the complete package: incredibly smart, incredibly witty, strong but emotionally vulnerable, passionate to a fault - and, well, the Scottish accent doesn't hurt! I actually stopped reading at several points to swoon over something he said... he's really that good.
I think she [Gina Torres] loved being on the show [Suits], and we'd loved having her. She wanted to do it to some degree sooner rather than later, so we tried to figure out a way to make it work for both of us so that she could enjoy her life a little bit more.
I loved being at the 'Times,' and they were incredibly good to me. I think it's a wonderful paper, and I was really well edited.
The ills and disorders of the 14th century could not be without consequence. Times were to grow worse over the next fifty-odd years until at some imperceptible moment, by the some mysterious chemistry, energies were refreshed, ideas broke out of the mold of the Middle Ages into new realms, and humanity found itself redirected.
I came into the 'Comedy Bang! Bang!' TV show with a level of confidence that I don't think I would've had if I hadn't been doing the podcast for three years already. I certainly had to figure out in those three years the sense of humor I wanted to do and the way to talk to celebrities without being incredibly intimidated by them.
Guarding your heart and protecting your dignity are a little bit more important than clarifying the emotions of someone who's only texting you back three words. I've learned that from trying to figure out people who don't deserve to be figured out. When someone seems mysterious, we like to romanticize that he's "deep" or "complicated." But a lot of the time, things are exactly as they seem....
I was a mixture of being incredibly old for my age and incredibly backwards. I was born quite old, but then I stopped growing. I lived with my mum and dad till I was 30.
I'm incredibly hopeful - in many ways, still very naive. I think a lot of that has helped me. My sort of naivete has sort of gotten me in trouble at times, but I haven't stopped myself from doing things.
I think the exercise of trying to figure out how to simplify concepts has been incredibly helpful to me over the last 13 years of teaching and I hope my students have benefited from it.
I'm an incredibly lucky girl. For someone who has made some very foolish mistakes and had some tough lessons to learn very quickly, I am still incredibly lucky.
I wish I could say I had some sort of master plan where one role leads to the next role, but a lot of it really is persistence and luck and being prepared when you are asked to jump on a project. There isn't any one rule that I follow. Obviously, I'll always shoot to work with the best actors, directors and filmmakers. I've been incredibly lucky to be able to do that.
I think I have always sort of cultivated a flowery writing style. I've always sort of over - written in every genre that I've attempted. I went to college and took a couple of writing classes and I remember my teachers were always incredibly encouraging. But it was inevitable to get the criticism: "Take it down a notch!" But the nice thing about screenwriting is that you don't really have to.
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