A Quote by Swami Vivekananda

I reached Ghazipur three days ago. Here I am putting up in the house of Babu Satish Chandra Mukherji, a friend of my early age. The place is very pleasant. Close by flows the Ganga, but bathing there is troublesome, for there is no regular path, and it is hard work wading through sands.
I am very close to my brother Ramesh Babu. When my father was away for shootings, my brother would take care of me, and I am very close to him, and yes, Dad's always special.
I go to bed early - around 9 P.M. or 10 P.M. - and wake up between 2 A.M. and 5 A.M. and get an extra three hours of work done. Then I have a regular work day. It's very effective.
Wading River was a gorgeous place to grow up and I feel very lucky there was a wood by our house where I could go explore when I was a kid.
I was taught from a very early age that I had to work twice as hard to get half as much. That was the world I grew up in - a very strong work ethic.
See how the Ganga flows by and what a nice building! I like this place. This is the ideal kind of place for a Math. (in Belur, West Bengal).
I am early in my story, but I believe I will stretch out into eternity, and in heaven I will reflect upon these early days, these days when it seemed God was down a dirt road, walking toward me. Years ago He was a swinging speck in the distance; now He is close enough I can hear His singing. Soon I will see the lines on His face.
I am very close to my brother Ramesh Babu. When my father was away for shootings, my brother would take care of me, and I am very close to him, and yes, Dad's always special. He used to call me and enquire about my film's progress. Whenever I deliver a hit, I can see a glow on my father's face.
In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.
I work very hard on finding good characters who can explain things to me, and I use them to help tell the story. I organize my pieces not just around people but around animals and plants, energy flows, the path that carbon takes through the food system.
The church is like any large corporation in one respect. In its early days, either the early church or the early years of Microsoft, you see all kinds of creativity, innovation, invention, people have nothing to lose, they're trying to find what works. Then you wake up and you're a vast enterprise, and it's very hard, when you have all kinds of buildings and structures and hierarchy and so on, to hang on to these very creative impulses that helped you get your great success in the first place. As a church we're going to have to figure a way out from under this.
When somebody's talking to us, they're not putting pauses - carefully putting pauses between words. It all flows together. The problem with that though, it's very hard to read.
I have worked with NT Rama Rao, Chandra Babu and with Mulayam Singh Yadav too, and with SP particularly I had bitter experiences in my 10-year tenure at Rampur.
In my early days, I used to go to many acting gurus, Asha Chandra and Roshan Taneja being two of them.
I was a child of the '60s basically, which is a real blank. I really started growing up, I think, in the '70s. I'm a glam-rock kid. But Dublin, Ireland in those days was a very dark place, as in it was a very poor, almost third world. Economically, the whole world is going through a recession at the moment. In the '60s, '70s, and the '80s in Ireland was a real recession. It wasn't a pleasant place.
The Ganga remains sacred from Gomukh, its source, to Ganga sagar, where it enters the ocean. It sanctifies the tributaries, which attain the very nature of Ganga. Similar is Sanskrit; sacred by itself, it sanctifies all that come into its contact.
I was always made to work at a very early age. I finished school at 4 P.M. and by 5 P.M. I was working. It was seven days a week.
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