A Quote by Tanya Roberts

What I really want is a commercial hit. If you're in a hit, you're suddenly a star, whether you acted well or not. — © Tanya Roberts
What I really want is a commercial hit. If you're in a hit, you're suddenly a star, whether you acted well or not.
What I really want is a commercial hit. If youre in a hit, youre suddenly a star, whether you acted well or not.
That's what stock-car racing is. You hit someone, or you get hit. That's something I had to learn. It's a key factor in why I'm so aggressive. I don't want to have to hit you. But if you're going to hit me, I'm going to hit you.
If you really want to go after something, you have to keep hammering at the stone whether or not the first hit or the 100th hit breaks the stone. You've got to believe that the stone is going to break.
It's true that a song or an entertainer isn't really a hit unless he's a hit in America as well as Europe.
On reflection, some things do super well because they hit with the time. Some things do super well because they are able to activate a kind of echo chamber or bandwagon or cascade - they didn't particularly hit with the time. Some things are just too astonishingly good to not hit the top. Those three explanations, with respect to the Star Wars phenomenon, seem to me all to pass the plausibility test, and to explore them, with respect to Star Wars, I think casts light not just on the saga of our time, but also on everything about our culture.
I didn't want anyone to teach me how to hit a forehand or hit 600 backhands. I don't need that. I've hit a billion in my lifetime.
You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
I'm a huge tennis fan, so the game I play the most is 'Top Spin.' You really have to know how to play tennis to get good at this game - whether you want to hit a forehand or a backhand, when's the best time to hit a slice - it's so real.
The audience got jaded, they want a hit, they want a big success, and so you don't want to experiment because you say, well, I'll disappoint the audience, they may not like it, I better do something that I think is more commercial.
'Being Mary Jane,' I really want everybody to see what we've done. I've never watched a project that I've worked and thought, 'Damn that's really good. It's so juicy, and it's hit after hit.'
You are being hit with tabloid-journalism bi-lines of what you are doing because you have suddenly become a star.
I believe in life that you know that everything prepares you for the next thing - whether it's a hit, whether it's not a hit, whether it's a... your failures are your accomplishments because it makes you prepared for whatever it is that you are going to do next.
When you get hit, you hit back, you've got to do it. You don't just say "I didn't get hit, oh I didn't get hit." When you get hit, we are destroying our country with these sick people [from mass media] back there, and they know it better than anybody in this arena.
I don't want to have one hit, one song of the summer, and then have me disappear forever. I really want my things to last, and I want my songs and my bodies of work to resonate with people. I want to hit people - at least make a dent in them. I want to make a mark somehow.
Boxing is the sweet science. You hit and not get hit. There's no reward for you to hit me more than I hit you other than on the scorecards.
My car is so bad, I hit poles I'm not kidding I hit things all the times, I hit bushes it's really bad.
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