A Quote by Sebastian Giovinco

I don't really care if I'm the face or the image of MLS or not. — © Sebastian Giovinco
I don't really care if I'm the face or the image of MLS or not.
Hockey is no longer a big four. It's football, basketball, baseball and soccer. Now, I'm not talking MLS. I'm talking COPA, World Cup, men's, women's, MLS, youth... and there's a lot of reasons for it.
It doesn't surprise me that people can't see beyond my image. It's amazing, but I can understand it. That's what image is for. But it's never a problem for me. It's only a problem for them. I don't really care. I do what I want regardless.
So I suppose I do not know how he really looked, and, in fact, I suppose I shall never know, now, for he was plainly an object created in the mode of fantasy. His image was already present somewhere in my head and I was seeking to discover it in actuality, looking at every face I met in case it was the right face - that is, the face which corresponded to my notion of the unseen face of the one I should love, a face created parthenogeneticallyby the rage to love which consumed me.
They courted the face on the screen, the face of translucence, the face of wax on which men found it possible to imprint the image of their fantasy.
If you don't win the MLS Cup it doesn't matter, so we know that the big one is the MLS Cup and we'll give our all to win it.
In the water I saw my father's face, and that face saw the face of its father, and so on, and so on, reflecting backward to the beginning of time, to the face of God, in whose image we were created.
The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.
I'd rather go under the radar and win an MLS Cup. I really don't need to be credited.
The image of Earth from space transformed our view of ourselves. It is maybe the most important image that exists - because we can see ourselves in context in a way that otherwise would be really hard to explain. It should inspire us to wonder about it, to want to know everything we can about it and do everything we can to take care of it.
When you're in Europe and you play there, and you hear about MLS, everybody thinks it's easy. It's not true. The level is really good.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
I don't care about my image. I'm already paid. I've already got my money, so why worry about my image?
The image of a bedsheet ghost standing all alone in an empty house was something I was obsessed with. I really wanted to make a film about that image, and I was waiting for the right story to come along. When it did, I did my best to honor that image.
The image itself is kind of the least important factor to me, though I'm still interested in putting forth an interesting image. I see the image as the screen laid over top of what really interests me, which is that depth of surface and that filmic quality that it has when you pass the piece. The idea that my pieces look like paintings, but are most definitely not, is really interesting to me.
Women never really care to face the truth when their hearts are involved.
I've always looked like I have a sort of bad-boy image as Too Short. People take that for face value. I kind of like that. I like the image. It suits me well.
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