Top 1200 Familiar Faces Quotes & Sayings - Page 2

Do not look at the faces in the illustrated papers. Look at the faces in the street.

The two most engaging powers of an author are to make new things familiar, familiar things new.

Even though my face has gotten more familiar with doing 'China Beach' and 'The Wonder Years,' I'm the kind of actor that people thought, 'Gee, that guy looks familiar. He must have put my storm windows in. He works at my bank or something.'

I was a supporting character in other people's lives, which seemed right and familiar to me. I was also an outsider: English in the U.S., American in England, dogged yet comforted by that familiar feeling of alien-ness, which occupied that space where my sense of self should have been.

One recurring dream, many others have also: you go into a familiar house, discover a door or hallway, and find the house continues into hidden rooms. Sometimes a whole second house is there, a larger and unknown extension of the familiar dwelling.

Good actors I've worked with all started out making faces in a mirror, and you keep making faces all your life.

I was not familiar with the Internet thing. Honestly, you know with all kinds of Internet media, I was not that familiar. I was not that kind of guy. Accidentally, 'Gangnam Style' happened, and you have YouTube and all other sorts of stuff like Facebook and Twitter and so on. So after that, I learned and learned.

Home is a place in the mind. When it is empty, it frets. It is fretful with memory, faces and places and times gone by. Beloved images rise up in disobedience and make a mirror for emptiness. Then what resentful wonder, and what half-aimless seeking. It is a silly state of affairs. It is a silly creature that tries to get a smile from even the most familiar and loving shadow. Comical and hopeless, the long gaze back is always turned inward.

The mind, conditioned as it is by the past, always seeks to re-create what it knows and is familiar with. Even if it is painful, at least it is familiar. The mind always adheres to the known. The unknown is dangerous because it has no control over it. That's why the mind dislikes and ignores the present moment.

I can't help feeling wary when I hear anything said about the masses. First you take their faces from 'em by calling 'em the masses and then you accuse 'em of not having any faces.

The first time people come to see me, it's usually because they're curious. Then maybe some of them return. I look out in the audience and see the same faces, the same wonderful, loyal faces.

[On her writing agenda:] Make the familiar exotic; the exotic familiar.

What is interesting and important happens mostly in secret, in places where there is no power. Nothing much of lasting value ever happens at the head table, held together by a familiar rhetoric. Those who already have power continue to glide along the familiar rut they have made for themselves.

I do not think he [Reagan] put names and faces together but for a small group of people. There were a few, perhaps half a dozen reporters, that Reagan recognized, including my colleague Lou Cannon, and some from television and the wire services. The rest of us were faces.

I don't have time to celebrate accomplishments. When good things happen, it's great, and obviously I get excited inside. But soon I gotta do something else; I gotta keep doing more stuff. The whole world will never be familiar, so I'm constantly going to be on a quest to get familiar.

If you're familiar enough with my body of work, my voice is a familiar totem, in a sense. I guess I have something characteristic in the way that I sing, although I'm not very personally self-conscious about it, so I don't think about it that much. But when I hear the record I can tell it's me.

Growing up in Malaysia, there wasn't really a problem with representation. We saw faces like ours on screen because Malaysia, Thailand, Singapore, China and Hong Kong all have their own film markets. It was only until I went back to the U.K. when I realized, 'Where did all these faces go?'

I am so used to having two faces. A face that I had for black America and a face for white America. When Obama became president, I lost both faces. Now I only have one face.

When I start to write a song, I initially fall into patterns and creative habits that are familiar, and because they're familiar, they sound convincing. It's important for me to not pursue those ideas, because I've already done them, but to find ideas that are different and feel strange to write and disconcerting to write.

Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.

If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.

It had been this way since my beginning, born on a forest lookout station in the High Sierras, surrounded by millions of acres of wilderness and many more animals than humans. Since infancy, the first faces I imprinted, the first faces I ever really loved, were animal.

What affects men sharply about a foreign nation is not so much finding or not finding familiar things; it is rather not finding them in the familiar place.

He shifted over without comment, lifting the blankets, and I scrambled into the warm sheets beside him. He smelled like soap and sleep and bare skin. He smelled familiar. Not the deja vu familiar of Guy or Mel. Familiar like...the ache in your chest of homesickness, of longing for harbor after weeks of rough seas or craving a fire's warmth after snow--or wanting back something you should never have given away.

I love faces that have freckles. I love faces that have wrinkles. For me, beauty is naturalism, I guess.

The food to me is just a hook, it's a button, it happens to be the social construct and the cultural totem that I'm most familiar with. So of course I built the show around food because it's where I'm familiar.

When I write, I speak with ghosts for years, and I see images that are a little bit out of focus. I see faces, but the faces change. At the moment that it's a real human being that's flesh and bone, it changes a character. It's much more precise and complex.

The place is changed now, and many familiar faces are gone, but the greatest change is myself. I was a child then, I had no idea what the world would be like. I wished to trust myself on the waters and the sea. Everything was romantic in my imagination. The woods were peopled by the mysterious good folk. The Lords and Ladies of the last century walked with me along the overgrown paths, and picked the old fashioned flowers among the box and rose hedges of the garden.

Just look at the faces of the great Christians! They are the faces of great haters.

I would not know how I am supposed to feel about many stories if not for the fact that the TV news personalities make sad faces for sad stories and happy faces for happy stories.

A lot of individuals I've met that I've done a song or two with. But to be honest I'm not incredibly familiar with the scene. I mean, I'm more familiar with people coming from other countries like Latin-American MCs and African rappers... that type of stuff I'm really starting to get a hold on.

I did work more realistically: I used real anatomy, faces with expressions - not Dick Tracy with his one slip of the mouth and that's it, but actual expressions on the faces that made the characters look like they were saying what was in the balloons.

Though it's marvelously entertaining, and I had fantastic fun writing the book, it's not terribly easily, the material, and it's not all that familiar...although we think it is familiar. The processes of the wonderful narratives are very intricate. It's about the charm - the spellbinding charm - of ingenuity, and it's not so easy to remember the plots or the structure or even the names.

The Small Faces was such a different band than the Faces. I know three of us are the same, but when you take Steve Marriott out, it's a very different band.

The thing about the human face is that we're so genetically programmed to recognize differences in human faces that, when you're digitally affecting faces, you have to be the most careful because even the smallest adjustment and it feels like it just isn't him anymore.

I had seen faces in photographs I might have found beautiful had I known even vaguely in what beauty was supposed to consist. And my father's face, on his death-bolster, had seemed to hint at some form of aesthetics relevant to man. But the faces of the living, all grimace and flush, can they be described as objects?

Everything I write doesn't appear to be biography until later. I often say that I've never written about anything I've experienced. Of course, that's not true. But it doesn't appear familiar to me at all. And maybe that's because I have to be in a kind of coma in order to write. If it appeared familiar, I wouldn't.

Why do I write today? The beauty of the terrible faces of our nonentities stirs me to it: colored women day workers- old and experienced- returning home at dusk, in cast off clothing faces like old Florentine oak.

We show our faces to demand that politicians making promises stick to those promises. We show our faces to ensure that the youth of today will flourish tomorrow.

It is the first changes among familiar things that make such a mystery of time to the young; afterwards we lose the sense of the mysterious. I take changes in all I see as a matter of course. The instability of all human things is familiar to me, to you it is new and oppressive." (Mr. Bell)

That makes a difference when you have all these Asian faces running then getting elected. You have some 30 people, many of them Democrats, running for Congress. When the community sees the other faces who look like them can run and win, I think it encourages them.

It really isn't very glamorous to sing because you have to make all these funny faces to make it sound like the record. You really want to sound the best you can so you have to make all these disgusting faces.

A fine artist is one who makes familiar things new and new things familiar.

Trees are massacred, houses go up — faces, faces everywhere. Man is spreading. Man is the cancer of the earth.

Any time you're comfortable or familiar with something, it's easier than something you're not familiar with.

People carry their secrets in hidden places, not on their faces. They carry suffering on their faces. Also bitterness if there’s room.

When The Fall pummeled their way into my nervous system, circa 1983, it was as if a world that was familiar - and which I had thought too familiar, too quotidian to feature in rock - had returned, expressionistically transfigured, permanently altered.

We apply the language that is comforting and comfortable and familiar in order to grasp that which confuses and scares us. That is the first step toward cliché and stereotype, as they're comforting devices. They reduce the confusing world to the already familiar. We're always smoothing out the bumps of actual living to turn it into narratable life.

We show our faces to support the billions of young people who suffer a lack of education. We show our faces to honour the potential of every young individual on this planet.

Humanity faces a quantum leap forward. It faces the deepest social upheaval and creative restructuring of all time. Without clearly recognizing it, we are engaged in building a remarkable new civilization from the ground up. This is the meaning of the Third Wave.

When you look into the faces of these quiet creatures who don't know how to tell stories--who are mute, who can't make themselves heard, who fade into the woodwork, who only think of the perfect answer after the fact, after they're back at home, who can never think of a story that anyone else will find interesting--is there not more depth and more meaning in them? You can see every letter of every untold story swimming on their faces, and all the signs of silence, dejection, and even defeat. You can even imagine your own face in those faces, can't you?

In this work are exhibited, in a very high degree, the two most engaging powers of an author. New things are made familiar, and familiar things are made new.

A lot of people aren't familiar with me, but it's not my job to make people familiar with me. There's millions of artists out there. I'm just gonna do what I wanna do, and if people feel the stuff that I'm doing, then great.

Do you understand now why books are hated and feared? Because they reveal the pores on the face of life. The comfortable people want only the faces of the full moon, wax, faces without pores, hairless, expressionless.

I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people's faces were always amazing.

People are familiar with 'the stick' of the Tea Party... challenging incumbents, flooding the phone lines. What they're not so much familiar with, and what I want to expand, is 'the carrot.' So when a Mitch McConnell, or when a Republican caucus stands firm... we have to reward them.

Suppose we took a thousand negatives... combining the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city - that would be my favorite picture.

The challenges should be familiar. They should have some relationship to the feelings - like, if a movie's about being demoralized at work, it should feel familiar to people, whether you're a roofer or a lifeguard. But there's a million different ways to be demoralized, especially at work.

The sentiments attributed to Christ are in the Old Testament. They were familiar in the Jewish schools and to all the Pharisees, long before the time of Christ, as they were familiar in all the civilizations of the earth - Egyptian, Babylonian, and Persian, Greek, and Hindu.

I shall praise those faces which seem to project out of the picture as though they were sculptured, and I shall censure those faces in which I see no art but that of outline.