A Quote by Rick Riordan
Normally my sister, Sadie, or some of our other initiates from Brooklyn House would've come with me. But they were all at the First Nome, in Egypt, for a weeklong training session on controlling cheese demons(yes, they're a real thing; believe me, you don't want to know)
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Could you not give me some sign, or tell me something about you that never changes, or some other way to know you, or thing to know you by?" — "No, Curdie: that would be to keep you from knowing me. You must know me in quite another way from that. It would not be the least use to you or me either if I were to make you know me in that way. It would be but to know the sign of me — not to know me myself.
I used to live with two other guys. We used to cook two things. The first one was called 'cheese... thing' and that was where you get something and you melt cheese over it and the first one to guess what it is doesn't have to wash up. That's obviously quite Mediterranean; the other one was less complex. It was just called 'cheese fantasy.' That's where you come in, very drunk, at about five in the morning and find an apple and just pretend there's some cheese on it.
We hug, but there are no tears. For every awful thing that's been said and done, she is my sister. Parents die, daughters grow up and marry out, but sisters are for life. She is the only person left in the world who shares my memories of our childhood, our parents, our Shanghai, our struggles, our sorrows, and, yes, even our moments of happiness and triumph. My sister is the one person who truly knows me, as I know her. The last thing May says to me is 'When our hair is white, we'll still have our sister love.
I remember when I was like, 'I want to get another shot.' And some of the other actors on 'Sister, Sister' were like, 'Do you know that's like a 1%, 2% chance for you to get another successful show? That just doesn't happen.' But whenever I hear, 'No,' or 'You can't,' something inside of me just goes, 'Oh no, yes I can!'
Egypt is the First Nome. New York is the twenty-first. What’s the last one, the Three-hundred-and-sixtieth?” “That would be Antarctica,” Zia said. “A punishment assignment. Nothing there but a couple of cold magicians and some magic penguins.” “Magic penguins?” “Don’t ask.
When I was at Hamburg, 17 or 18, Ruud van Nistelrooy signed, and he helped me a lot. He saw my first training session, and he talked to me. He told me I was a good player. He gave me confidence, and I want to thank him for that.
I see murky visions of other gods and rival magic." That REALLY didn't sound good. "What do you mean?" I asked. "what OTHER GODS?" "I don't know, Sadie. But Egypt has always faced challenges from outside –– magicians from elsewhere, even gods from elsewhere. Just be vigilant." ~Ruby & Sadie Kane about...? Possibly Greeks?
I looked across the river to Manhattan. It was a great view. When Sadie and I had first arrived at Brooklyn House, Amos had told us that magicians tried to stay out of Manhattan. He said Manhattan had other problems--whatever that meant. And sometimes when I looked across the water, I could swear I was seeing things. Sadie laughed about it, but once I thought I saw a flying horse. Probably just the mansion's magic barriers causing optical illusions, but still, it was weird.
When I started to write music that was completely divorced from any sort of idea of commercial success, the real me started to come out. Normally, a musician in a session for a pop record would have to discard a lot of ideas because they won't fit, because they're not commercial.
I feel like a lot of people in sports come from - not bad backgrounds, but they have a real story. They've come from some of the hardest times, and they're out there playing for their family and the first thing they want to do is buy their parents a house and everything.
Our dynamic is different from other siblings. We're always fighting but we know that we love each other and we get along. People don't see that. If my sister didn't want to be in my videos, she would've told me.
All the time, I'm afraid the thing that happened that made it all right for my mother to kill my sister could happen again. I don't know what it is, I don't know who it is, but maybe there is something else terrible enough to make her do it again. I need to know what that thing might be, but I don't want to. Whatever it is, it comes from outside this house, outside the yard, and it can come right on in the yard if it wants to. So I never leave this house and I watch over the yard, so it can't happen again and my mother won't have to kill me too.
I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.
They were grooming Doris Day to take over the top spot. Jack L. Warner asked me to play her sister in one picture. I said, "Come on, Jack. No one could ever believe that I would have Doris Day for a sister."
I thought it would be really cool to show the world the inner life of someone like me, who doesn't have a huge personality, who deals with some personal demons and is a little bit shy and a little awkward when you first get to know me.
Normally we empower our demons by believing they are real and strong in themselves and have the power to destroy us. As we fight against them, they get stronger. But when we acknowledge them by discovering what they really need, and nurture them, our demons release their hold, and we find that they actually do not have power over us. By nurturing the shadow elements of our being with infinite generosity, we can access the state of luminous awareness and undermine ego. By feeding the demons, we resolve conflict and duality, finding our way to unity.
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