A Quote by Simon Cowell
Well, it's basically the viewers who determine it. We - well, basically the producers and myself chose the people we felt had the best reaction, you know, through the press, the Internet, the people we thought deserved a second chance. And they've chosen a winner, I believe.
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Democrats believe people are basically good but must be saved from themselves by the government. Republicans believe people are basically bad but they'll be okay if they're left alone.
By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.
The people who've done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] - who want to make the kind of movies that producers want to produce. People who don't succeed - people who've had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever - are the people who didn't want to make the kind of pictures that producers want to make. Producers didn't want to make a Renoir picture, even if it was a success.
I would support whoever the people have chosen. We have to abandon the thinking that there is a bunch of politically elite people who know what is best, let the people determine for themselves who is best.
People think, and by the way I think most people are right: 'The Tory party is run by people who basically don't care about people like me.' That is what most people in the country have thought about the Tory party for decades. I know a lot of Tory MPs and I am sad to say the public is basically correct.
We live in a society where we basically live and strive on what people think about us. We’re more visual people so what we see is basically what we believe which is not necessarily true.
I think the twenty-first century happened, basically. That this century started on 9/11. And basically, it's been a century of counter reaction to globalization and the meritocracy. And a good century for 72 nations have gotten more authoritarian. We've had Brexit. We have Le Pen rising in France. We've just got a lot of these types all around the world. And the people who are suffering from globalization and the meritocracy are saying, "No more. You know, we get a voice too."
My mother thought my inclinations would do well in Law, but I was too shy and deliberative - slowfooted - for that, so I determined to be an English and German high school teacher. In my first year of university I had one subject to "fill in" and chose philosophy against the advice of my counselor. My university teachers in English and German were totally uninspiring; philosophy was wonderful and my results showed it. I chose it and basically backed into a situation in which only a philosophy career seemed a viable option. I've never regretted it, but there was a lot of serendipity.
There are “well-known secrets” out there and there are people who are “so happy they could die.” Sometimes people are so sad they have to laugh and sometimes things feel so wrong, they’re right. Basically what I’m saying is, I usually don’t know what people are talking about.
Well, basically there are two sorts of opera," said Nanny, who also had the true witch's ability to be confidently expert on the basis of no experience whatsoever. "There's your heavy opera, where basically people sing foreign and it goes like "Oh oh oh, I am dyin', oh I am dyin', oh oh oh, that's what I'm doin'", and there's your light opera, where they sing in foreign and it basically goes "Beer! Beer! Beer! Beer! I like to drink lots of beer!", although sometimes they drink champagne instead. That's basically all of opera, reely.
I didn't see myself any different from my white counterparts in school. I just didn't! I thought I could do what they did. And what I didn't do well, I thought people were going to give me the opportunity to do well, because maybe they saw my talent, so they would give me a chance. I had no idea that they would see me completely different.
A lot of people are frightened by old age - by being around people who are, basically, on their way out - but I'm fascinated by it. It's an amazing thing to be around someone who has had a life well lived.
Basically, I chose not to identify with being broke any longer. I realized I deserved a beautiful life, and abundance was something that I needed to welcome into my life.
I like to go after the foibles, basically of beliefs that are held without question. If people still want to believe in their stuff after that, that's great - as long as they just have a chance to step back and look at it for a second. Sometimes, you don't even realize what you've been thinking for 20 years.
When I look at a script, I basically ask myself, 'Do I believe the relationships? Are they people like you and me?' I have to be able to see myself in it.
I had a bad experience on Ned Kelly, which I'd written the screenplay for. I thought: "Well Jesus, if these are the type of people directing movies I might as well direct one myself!"
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