A Quote by Taylor Lautner
You show up in Paris, and on the drive from the airport to the hotel you're like, 'This is so cool! I want to see something! I want to go to the Eiffel Tower!' And then you leave the next morning. You think, Oh, I didn't get to do anything. I tell people: I've been just about everywhere, but I've seen nothing.
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I miss a lot about Paris. After three and a half years, you get a little sick of it, and you just want to be home. But there are little things, sights. Like seeing the Eiffel Tower every day, that's kind of cool.
With me, traveling for work is arriving at the airport, checking into the hotel, leaving the hotel the next morning at 4 or 5 to do something like 'The Jimmy and Jackie Captain Crazy Morning Zoo,' doing a bunch of those in a row, then going back to the hotel, and then finally going to the club.
After the occupation of Paris, Hitler visited Paris, which of course was a great jewel for him, and he wanted to go up on the Eiffel Tower and gaze down upon the city of Paris, which he'd conquered. For some reason the elevators mysteriously stopped working that day. Some people say it might have had to do with the French resistance. So he couldn't go up.
What I want to do is produce really delicious food. I want it to look nice, because when you see food you should want to eat it. You shouldn't be saying, 'Oh my goodness, isn't the chef clever, he can weave the Eiffel Tower out of carrot sticks.'
Now you can leave home at any time you like.Your mother comes down and finds a picture of the Eiffel Tower on her plate. And she says, 'Oh! Rosemary's gone to Paris. No wonder the bathroom was so tidy.' And nobody minds. But in my day, to go abroad with all those wicked Frenchmen, what would become of them? So no-one ever went anywhere.
I never think about the numbers. I've never played tennis for the money, because as long as I enjoy it, and I can achieve anything, then the money will come. I know that things will start coming up, many more people will want to start getting involved. But I just want to keep my head cool, and I want to leave (business) to the people who take care of business. I just go out and I just play tennis.
but do i need to say anything?" sophie asked. "do i need to learn any words?" "like what?" saint-germain said. "well, when you lit up the eiffel tower, you said something that sounded like eggness" "ignis" the count said. "latin for fire. no, you don't need to say anything." "then why did you do it, then?" sophie asked. saint-germain grinned. "i just thought it sounded cool.
I want each season to feel new and special. I don't want it to feel, "Oh, more of this." That's something that's easy to do in the first three seasons, and harder to do as you go. I'd rather err on the side of blowing up everything and being like, "Why did you do that? There was more story to tell there," and moving the family to Mexico like on Weeds, instead of people going, "Oh, we've seen this already. We're tired of this."
...It looked very different from the Statue of Liberty, but what did that matter? What was the good of having the statue without the liberty, the freedom to go where one chose if one was held back by one's color? No, I preferred the Eiffel Tower, which made no promises." ~ Josephine Baker, once she had seen the Eiffel Tower
Opportunities may come along for you to convert something -something that exists into something that didn't yet. That might be the beginning of it. Sometimes you just want to do things your way, want to see for yourself what lies behind the misty curtain. It's not like you see songs approaching and invite them in. It's not that easy. You want to write songs that are bigger than life. You want to say something about strange things that have happened to you, strange things you have seen. You have to know and understand something and then go past the vernacular.
Just giving the people a great show, leaving it all on the stage. Like when I'm finished I don't want to go home with nothing, I want to leave it all there on the stage, that's what I'm thinking about before I hit the stage.
Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that's just me) as if you've never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you'll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.
I think it's a dance that people want to see. It's a chemistry that people want to see. In the same way that people don't want to see a perfect hero with no flaws who can handle anything, people don't want to see a perfect relationship. There's nothing interesting about that. People want to see you fail.
I think the most important thing is to leave people inspired to do something, to realize their purpose in life. I want people to show love to each other. What I love about performing live, and especially in smaller intimate venues, is the real connection you have with the fans that you can't get in a studio or a big arena. It allows me to have real moments with my fans. I just want the night to be filled with good energy, love, and for people to leave the show happy.
I always wish the hotels were like they are in movies and TV shows, where if you're in Paris, right outside your window is the Eiffel Tower. In Egypt, the pyramids are right there. In the movies, every hotel has a monument right outside your window. My hotel rooms overlook the garbage dumpster in the back alley.
There is none of that feeling about art that you meet everywhere in Europe. There you will hear people say, 'Oh, you must see such-and-such a statue at 4 o'clock in the afternoon; then the light is beautiful,' or, 'See this monument in the early morning; the light is best for it then.' Do you ever hear anything like that from an American?
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