Top 1200 Great Show Quotes & Sayings - Page 9

There are lots of reasons people come to Beyonce shows. There's the music, her dancing; all in all a bedazzling show. She's a great performer and singer.

I remember when I had my show [The Chris Rock Show on HBO], I used to run my show. It was so hard to get people to bring sketches to me. No one had ever worked for a black person before. Even the black people hadn't worked for a black person. It literally took a month or two for everybody to know: I'm really running the show.

It's much better to wreak havoc on a show and be a maniac than promote myself. Plugs and anecdotes aren't really in line with my beliefs. Besides, if someone sees me on a morning show and thinks, 'That's not funny; this guy is crazy,' then I don't want them to come to the show anyway.

Work a great deal at evening effects, lamplight, candlelight, etc. The intriguing thing is not to show the source of the light but the effect of the lighting.

I've never been unfaithful outside 'Made In Chelsea.' I don't care what the reputation looks like. I was unfaithful on that television show because it's a show about that. I'm not saying it was acceptable behavior, but the show wouldn't work without relationships failing. In real life it's completely different.

Great souls forgive not injuries till time has put their enemies within their power, that they may show forgiveness is their own.

When you find any great project - if it's onstage or it's a movie or a television show or whatever it might be, if it's wonderful, then that sort of transcends what the medium is.

We're nondenominational. I come from Northern Ireland, and we've had religious wars for years. I didn't want to create an illusion that my God is better than your God. So our show is a spiritual show, not a religious show.

I have always wanted to play at clubs like Barcelona. It's a great club. Any player would be happy for them to show an interest.

I had an amazing time on 'Stargate: Atlantis', and a really great run on that show, which was shot in my hometown. It was kind of a dream job.

Surely we ought to show them (animals) great kindness and gentleness for many reasons, but, above all, because they are of the same origin as ourselves.

I booked my first national tour of a Broadway show right out of college. It was the tap show, '42nd Street.' I had only been tap dancing for three years when I booked that show.

I've taken so many kids out of Pittsburgh and onto the great white way in New York City right into a Broadway show.

The first show that my dad and my mom did together was for, was a comedy series, a short form that went in the middle of late-night news, and then through all of their career, it was always the "Ed Sullivan Show," it was a variety act, my dad was on the "Jimmy Dean Show" for a few years.

Blind audition format is what make our show unique and gives it so much more integrity. After all, the show is called The Voice. It's about vocals, and you have to stand out to get the attention of these four, Grammy-winning superstars who have an amazing ear and know what they're talking about. They rely on their ear as well as the reaction of fans in the audience to figure out whether that contestant is worth pressing that red button for. It's a great concept which keeps everybody on the edge of their seat.

I never wanted to do reunion shows for the sake of a reunion show. I've done all the 'Brady Bunch' stuff except for the Variety Show, but when a talk show wants us all to get together for their sake, it's not interesting to me.

I'm really proud to be part of it. I think it's great that the show came back. We have another generation to fall in love with magic and the 'Charmed' sisters.

I think doing 'Teen Wolf' is just giving me a really great opportunity to possibly get other jobs and show what I can do.

In television, there's this weird sense of isolation from your audience; you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It's our little show, and then it goes out into the world, and somebody watches it.

As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.

The ideal pre-show meal I think is pho, the Vietnamese soup. It's very light and good for you, and then the broth is great for the throat.

We're having so much writing some of the sillier stuff that never would have been on Mr. Show. And that's not a knock on Mr. Show at all, because it's my favorite comedy show of all time. Even before I worked on it. It's just really refreshing to write something so stupid and say, "We gotta do that."

My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.

There's something in human nature, the trying-to-get-on-with-it quality of people, the struggle to maintain or keep the show going can be exhausting. It just seems like that element of trying to move forward while things are breaking down... Obviously, it's always been the backdrop for a lot of great literature and great cinematic characters, but aside from that, I'm just drawn to it because that feels honest to me.

You do show after show after show and get them done and on the air. Television devours material. We work a minimum of 12, 14 hours, and often 15, 18 hours a day.

I hope our fans will be able to make great memories with us through the music and performances we show on stage.

Hannah in the show is enormous, like a Hilary Duff of TV. I hope everyone really likes her. She's a great person!

I think there's just some fundamental decisions at the beginning that are going to make it different. Our show The Right Now Show is going to be specifically different than Mr. Show because of the talent involved.

I'm working on a cooking show; I'm going to do some of it at Dallas Page's performance center. I'm going to do a cooking show called 'Dude Food,' where I show young guys how to eat good and clean, cheap.

I have so many great friends, so many great memories, so many great pictures, so many great songs, so many great relationships with people. I definitely feel, for the last 15 years, that I spent my time very wisely. And that's a great thing to be able to look back at.

In the stand-up comedy top, there's room for everyone - if you're good, there's room for everyone. You'll put on your own show - no one casts you. You cast your own show as a stand-up comedian. When you get good at stand-up comedy you book a theater and if people show up, people show up. If people don't show up, people don't show up. You don't have a director or a casting agent or anybody saying if you're good enough - the audience will decide.

When we started the show, there were mixed responses. Half of the people said, 'That show doesn't have a chance.' The other half said, 'That show doesn't have a prayer.'

The borrowers will always be willing to take a great deal for themselves. It’s up to the lenders to show restraint, and when they lose it, watch out.

If you really want to show power in its larger aspects, you need to show the effects on the powerless, for good or ill - the human cost of public works. That's what I try to do, show not only how power works but its effect on people.

The way I try to explain it the best is that if Critic A from publication A hates our show, and Critic B from publication B loves our show, what are we supposed to do with that? We have to just respect everyone's opinions and go on making the show we want to make. I've never worked on a show that was altered by critical reception. You just can't afford to do that. So in that regard, it's actually no different that working in theater. It's just a lot more voices.

You know, when you've idolized something, you put it on a shelf, lift it up, and when King Day comes out, you pull it out and show it. Or when Black History Month comes out, you show it, or when April 4th or other times, you show it. But, you see, Dad wouldn't want us to idolize.

I've sorta learned that I'm so tired of taking myself so seriously. It's so great to show up at work and truly enjoy every word you say.

Pop Idol, X Factor, Fame Academy, there's so much talent out there. It's great to see people getting the chance to show their potential

I also stole a small yellow doughnut from the box of Duncan's doughnuts in the rec room and fed it to the attack poodle in my office. He made a great production of it. First, he growled at the doughnut, just to show it who was boss. Then he nudged it with his nose. Then he licked it, until finally he snagged it into his mouth and chomped it with great pleasure, dropping crumbs all over the carpet.

The thing about 'Popworld' is it became such a luxury to be doing this great show every week, and to have people stop you in the street and say it's good.

I didn't even know what Chikara was... So I show up at the show, and I'm expecting a normal wrestling show... there's like a f#%ing dude in a dinosaur outfit walking around, and there was a stipulaton that someone would be sent back in time... Not that I disliked it or anything, I was just like, what the hell is going on.

I never want to play a show where it feels overly programmed, processed, and all that. For anybody that comes to one of our shows, the goal for me is to make sure that's their show. That nobody else is going to see that show ever again. You know what I mean? I try to make it different every day.

On a good team there are no superstars. There are great players who show they are great players by being able to play with others as a team. They have the ability to be superstars, but if they fit into a good team, they make sacrifices, they do things necessary to help the team win. What the numbers are in salaries or statistics don't matter; how they play together does.

I'm probably not creative or talented enough to create an especially compelling piece of content, but I really do enjoy watching a great movie or TV show.

He used to have a tent show, a little tent show, and I thought I was going to get a job working one year on the tent show, but he closed it down and I never got to go out there, but anyway, he had a sax and played drums.

When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.

I'm very humble in terms of knowing that television is an extraordinary collaborative medium and that one person alone cannot make a great TV show.

It was scary. I went into that with great apprehension. All you hope is that you don't hurt it. I had nothing to do with the success of 'The Andy Griffith Show.' I just hoped I wouldn't do anything wrong.

I've never had anyone put on a puppet show to convince me of anything. And I've done a lot of stuff. I don't know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I'll tell you, he wasn't bad.

When your show keeps coming back, year after year, you have a responsibility because your fans know your show sometimes better than you do. You can't play games with them. You have to be really focused and concentrated, and play at your best in every department. The writing staff has to be fantastic. Our director line-up has to be great. Everything has to be better and better. Your fans keep track of the details.

There are not that many people who can say they have been on a show long enough to leave it. Usually, you don't have a choice. The show gets canceled. There are very few people who live in the rare air of being able to leave a show while it is still in production.

The thing that's the biggest bummer about any live show is a hot, sober room. So if it's during the day and people are a little buzzed, great.

I know as a critic I'm required to have a well-armored heart. I must be a cynical wise guy to show my great sophistication. No pushover, me.

When I come offstage, if I've done a bad show or had a bad night, the fact that everybody was standing at the end or three or four times during the show means nothing to me. I know I could have done a better show.

You have to show up when your show fails - or it succeeds. When you are enjoying the glory of success, you have to show up and still work hard because it may not last. You have to do your job with the same sincerity when you started and till you can actually do it with passion.

Trust in God for great things. With your five loaves and two fishes He will show you a way to feed thousands.

I do great with Tea Party, I do great with conservatives I do great with moderates, I do great with evangelicals, I do great with everybody.

The idea was called Justin.tv. The idea behind it was, basically, to create our own live-video streaming show, like 'Big Brother,' about ourselves, these entrepreneurs trying to make a reality show. It was a little bit meta and we launched this show.

I started to get so many letters from unlikely people; a single mum going, "I watch your show, I'm not into survival, but I hold down four jobs and I get it when you say it's about persistence and putting a positive attitude into things during difficult times." That for me was a great liberator to realize that the show isn't about me running around, jumping off stuff and flexing muscles, it's about inspiring people. That makes me really happy.

If you can show your child what its like to be charming and giving, show your child what love is really all about and show your child unconditional love, show your child caring and compassion and understanding the nonjudgmental and that is what your child will become.