A Quote by Uri Geller
I was about five years old when I was eating soup in our kitchen, and as I was lifting the spoon towards my mouth, it bent and broke in half.
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In taking soup, it is necessary to avoid lifting too much in the spoon, or filling the mouth so full as almost to stop the breath.
Many people don't know our famous 'soup kitchen' episode on Seinfeld was inspired by an actual soup restaurant off 8th Avenue in New York.
When anybody, no matter how old they are, loses a parent, I think it hurts the same as if you were only five years old, you know? I think all of us are always five years old in the presence and absence of our parents.
Everyday I eat some soup. This is part of our culture - our mommies and grammies make it, and at any restaurant in Serbia, you can go in and find some soup. There might be minestrone, butternut squash, chicken noodle soup, tomato soup, mushroom soup, lamb soup. Whatever you can find, you can make a soup with that.
The whole point with type is for you not to be aware it is there. If you remember the shape of a spoon with which you just ate some soup, then the spoon had a poor shape.
The bent of our time is towards science, towards knowing things as they are.
I started working at a soup kitchen in skid row of Los Angeles when I was 13 years old, and the first day, I felt really scared. I was young, and it was rough and raw down there, and though I was with a great volunteer group, I just felt overwhelmed.
We discover that we do not know our role; we look for a mirror; we want to remove our make-up and take off what is false and real. But somewhere a piece of disguise that we forgot still sticks to us. A trace of exaggeration remains in our eyebrows; we do not notice that the corners of our mouth are bent. And so we walk around, a mockery and a mere half: neither having achieved being nor actors.
We stopped eating meat many years ago. During the course of a Sunday lunch we happened to look out of the kitchen window at our young lambs playing happily in the fields. Glancing down at our plates, we suddenly realized that we were eating the leg of an animal who had until recently been playing in a field herself. We looked at each other and said, "Wait a minute, we love these sheep-they're such gentle creatures. So why are we eating them?" It was the last time we ever did.
The young bamboo can be easily bent, but the full grown bamboo breaks when it is bent with force. It is easy to bend the young heart towards God, but the untrained heart of the old escapes the hold whenever it is so drawn.
My mother is a huge fan of my work. I told her about 'Coraline' long before the film was made, and she got the book and read it. She reminded me that when I was about five years old, I used to sit in the kitchen for hours and talk about my 'other' family in Africa, my other mother and father. I had totally forgotten that.
I stopped eating meat about six years ago, when I was working on the movie Selena. During the shoot, I had to hold a chicken for five hours-if you hold it and feel its little heart beating for hours, you just can't think about eating it.
Our kitchen is a kitchen that makes food designed to be tasted with the five senses and it requires concentration to appreciate all that we want to express.
I must have been six or seven years old at the time. My family lived on the bottom floor of a two-story house on Cruger Avenue in the Bronx, and every night at 9:30, I sat by my little radio in our kitchen and listened to a half hour of Bing's records regularly spilling out over WNEW.
I constantly work with material that could be two years old, five years old, ten years old, as well as new things.
I can't even count the number of times I've obliterated my diet with a binge session. One second, I'm floating along just fine, four days into a successful low-carb lifestyle. The next? I'm standing alone in a dark kitchen, eating a sleeve of Ritz crackers and cream cheese with a spoon.
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