A Quote by Rob Brown
I know that there's a lot of room to maneuver in those kind of ghostly musical spheres.
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Realism as a foreign policy doctrine means basically you don't care about values; you consider them a luxury, and it leads to a kind of acquiescence in spheres of influence. Now, spheres of influence sound good if you're a graduate student, or a certain kind of - an academic with a certain habit of mind. But in fact, spheres of influence don't work out very well, certainly not for the victims, and there are always victims.
Those who do not know the plans of competitors cannot prepare alliances. Those who do not know the lay of the land cannot maneuver their forces. Those who do not use local guides cannot take advantage of the ground.
I do this maneuver, my finishing maneuver. It's called the 054, and it's a 450 splash, but it's going backwards. I know my opponents aren't going to be thrilled to hear this, but I don't know what I'm doing up there. I literally close my eyes, and I just jump, and my body just takes over, and thankfully I haven't hurt anybody.
When you're in a business where you're surrounded by celebrity a lot - and I can go into a room and those are a lot of the people that I know, and know very well - that in itself can be intimidating.
Under none of the accredited ghostly circumstances, and environed by none of the conventional ghostly surroundings, did I first make acquaintance with the house which is the subject of this Christmas piece. I saw it in the daylight, with the sun upon it. There was no wind, no rain, no lightning, no thunder, no awful or unwonted circumstance, of any kind, to heighten its effect.
When you read Boethius and some of the Renaissance philosophers, they talk a lot about the other spheres. There's a music of the spheres. There's a music that's actually in the universe, they believed, that's out there in different dimensions.
I'm doing 'Les Miserables,' the movie. I've done a lot of musicals and a lot of movies, and I know there are not a lot of people in Hollywood who have been down those two paths so I've been like, 'Come on, let's do a movie/musical.'
My musical tastes - I'm always searching for new things. I know a lot of people say they listen to everything, but I kind of do.
In the margin for error lies all our room for maneuver.
'Story of My Life' was essentially a two-man musical play. In hindsight, I don't know if there was room for a two-man musical on Broadway.
We wanted a musical number that would capture the exhilaration of being out on a boat as they were and sailing with the stars and all that. So that's the origin of We Know the Way. From very early on we said, for an audience that doesn't know this, what we need a song that can really have the kind of sweep and the, you know, pull you in. So that was early on, we conceived of like that should be a musical moment [in Maona].
We have to dare to modernize to get room to maneuver for the priorities in the future.
People aren't making as many movies as they used to, so youve got a lot of really big-name actors who are coming in, and they want to do pilots, so things kind of disappear for those of us who kind of have to still get in the room and audition and read for it.
I don't know what to do with it. I'm very fortunate to have it, and it gives you room to maneuver. But the main thing about having money is it means you don't have to worry about it. And that for me is a lovely thing. It's not for fast cars and hookers.
My background is in musical comedy. I didn't know I was going to be an actor. But all my points of reference have to do with musical comedy and in being kind of a showoff.
A lot of patients you know if you haven't seen them for 6 months or a year, you won't remember what medicines they're on or what kind of problems they have. And you know I'd feel much better if I know a little bit about the patient before I walk in the room, so I won't be too surprised.
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