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I saw, in looking over Cooper, elements of a comet of 1825 which resemble what I get out for this, from my own observations, but I cannot rely upon my own.
They are imaginary characters. But perhaps not solely the products of my imagination, since there are some aspects of the characters that relate to my own experience of a wide variety of people.
I now know all the people worth knowing in America, and I find no intellect comparable to my own.
Whenever I dwell for any length of time on my own shortcomings, they gradually begin to seem mild, harmless, rather engaging little things, not at all like the staring defects in other people's characters.
And not only my own brothers and sisters agreed so but my brothers and sisters in law; and their children, although but young, had the like agreeable natures and affectionate dispositions.
Film has the potential of allowing me to explore my own ideas, which I find very attractive.
I have forced myself to contradict myself in order to avoid conforming to my own taste.
It's my own personal unconscious that ultimately creates the novel's aesthetic facade.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
I always knew I wanted to be an entrepreneur. I started my own software company in high school and went to college to study entrepreneurship.
I suppose I've always lived in my own head. I didn't discover boys till sixth form. Then suddenly it was, 'Oh! Boys!'
'Untamed Youth' was my favorite. I got to sing and dance and do my own gyrations.
When I was hanging out with Joey Clements in Chicago, I made it a point not to try to emulate him. I wanted basically to create my own character. I didn't want him to think I was hanging out with him solely to use him as research.
I did no research on 'The Best Man.' That was something that came out from my own head.
This horror of pain is a rather low instinct and... if I think of human beings I've known and of my own life, such as it is, I can't recall any case of pain which didn't, on the whole, enrich life.
I see genres as generating sets of rules or conventions that are only interesting when they are subverted or used to disguise the author's intent. My own way of doing this is to attempt a sort of whimsical alchemy, whereby seemingly incompatible genres are brought into unlikely partnerships.
I have my own past and my own personality. I'm going to relate to the material in a completely different way than somebody else might.
Pressure is there with any release of mine. It's more my own, as I need to surpass my own expectations.
I don't think that I can tell any story better than the story of my own country, than the stories of my own countrymen.
The chemotherapy was very peculiar, something that makes you feel much worse than the cancer itself, a very nasty thing. I used to go to treatment on my own, and nearly everybody else was with somebody. I wouldn't have liked that. Why would you want to make anybody sit in those places?
I listened to Billie Holiday a lot in order to learn to sing. She remains one of the extraordinary jazz singers. But my intent is to become my own voice, to be able to interpret these songs in my own way.
By the time I turned 18, I moved into a little chalet of my own and felt very grown-up.
I always prefer other people's interpretations over my own, so I'm not very quick to make explicit what exactly a song or record is about.
My own motivation has come from the fact that all the indicators in the world, the hunger index or whatever index you say, shows a high prevalence of malnutrition.
If, through my own personal journey, I can inspire someone else to self-love, that would be the biggest accomplishment.
I can connect with whoever I want to connect with in the world. And I can also write my own script. I don't have to follow rules. I can sort of just be unconventional.
In my career, I've really wanted to sort of be a morpher and not show my own identity.
Just based on my own family and background, I would not be in a film that would exploit or sensationalize anyone.
Living in Barcelona, I have my own little ghetto utopia. There are 3,000 ghost towns in Spain, and I've used the images of them a lot in my backdrops for my solo spoken-word stuff. The ghost towns could be from two buildings to 40 - things died out, or there were plagues, the roads don't lead there, whatever.
We obviously don't like the idea of a wall. It's not a friendly gesture. And my own personal opinion is that it might not even work for the purposes that it's meant to work for.
I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.
If I saw someone in need and I did nothing, I'd be defacing my own humanity.
I wanted to be a ballerina as a child - I had a tutu, and I used to stage my own ballets in our front room with my family as the audience.
I would love to do my own stunts, but stunts are not something I have a lot of experience with.
I can't do anything I want to. I mean, I can't have my own TV show. I can't have my own movie. But within my little world, nobody tells me what to put on the albums.
I wanted to be an actor. That was my real goal. But I wasn't any good at it, so I wrote my own material and acted through that. That's my idea of fun. I get to be all these things in the songs.
As an inventor, it's a rite of passage to have an engine. I'd like to have my own engine someday.
My roommate at Yale University introduced me to the auteur theory of filmmaking. I soon became a big fan of the works of John Ford, Kenji Mizoguchi, Ernst Lubitsch, and Stan Brakhage. I then decided to make my own films!
It's really important for cycling and for women to be on a sporting stage which is in the mainstream and across the board, not just my own sport.
Just so that we are clear on this, I am in favour of teaching children about different beliefs. I am not in favour of indoctrinating them in any particular belief, including my own: these issues should be presented as beliefs, not as fact.
I have been obsequious toward Western civilization, exaggerating its merits and, at the same time, exaggerating my own merits.
We usually let our husbands negotiate the house and the cars. But I never had a husband, so I was always buying my own houses and cars, so I knew how to negotiate.
I don't think I can tell any stories about how I lived in a van in Alaska. I grew up in the suburbs, I even had my own room. We weren't poor. Everything was very normal.
I wanted to come through with my own voice and, hopefully, have it affect people. I want people to know that I'm not an Elvis impersonator.
I have enjoyed writing my own stuff, and it's been a privilege to be able to scrap some money together to be able to make films from my own scripts.
I was certainly open for something being on the edge of a nervous breakdown, perplexed by my own sexuality. I was gay.
I would love to have my own show, and whatever movies come up, that would be fun to do too. But I love TV, and I love the art of the half-hour sitcom.
I'm perfectly gregarious, but I can also be really happy left to my own devices with nobody watching me or listening to me.
I'd rather have a pencil and paper and do all my own calculations rather than rely on a machine. And I'll do most calculations in double digit multiples as quick as the machine.
I write most of my own lyrics for my album and I am helping to produce some of the songs as well.
My parents weren't very strict. They've always trusted me to be independent and make my own decisions. There wasn't really anything to rebel against.
My career highs were definitely in 1983 and 1984, because Kajagoogoo's 'Too Shy,' which I co-wrote, went to number one in many countries and was top five in America. However, the band fired me in August 1983, so I was suddenly on my own as Limahl.
As a little girl living in the English countryside, I used to go running around in the forests, creating my own fairy tale.
I got signed to a development deal when I was 15. That fell through after about a year when the company merged with another label. Then I got picked up by Sony publishing. So I was writing professionally from 16 to 18. Then I started making my own records.
Normally I don't race other people; I challenge the environment and my own limitations.
I don't aspire to be like other drivers - I aspire to be unique in my own way.
I started off playing my own songs, just because I saw it as a means to an end almost of, 'Right, if you want to play gigs, you have to write your own songs.' I mean, they were absolutely terrible.
That's something I would love to do - play leading roles and really hold it on my own in those leading roles.
The reason is that for many years I have avoided reading anything whatsoever that approaches my own line of country, out of a somewhat fanatical desire to avoid the risk of unconscious imitation.
Under my contract with Capitol, I have complete freedom to do just about anything I want in my own way.
I'm not good with limitations. I tend to like to find my own. It hurts sometimes, but it's good. I'm little extreme in that sense - the middle ground is not my forte.
Well, no. I believe that it's not at all impossible that some of the performances that I've heard so far by some pianists may be superior to my own playing because those are two totally different acts altogether.
Being very dyslexic I couldn't even tie my own shoe laces until the age of 21 and I struggled at school.
I just want people to know that whatever decisions are made on any issue, I'll make them according to what I believe is in the public interest and my own conscience.
I won't be allowing my own background or my own sexual orientation to dictate the decisions that I make.
I realized the only thing I owed my audience was my own judgment and my own best effort.
When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.
The older I get, the happier I am with the way my career has gone. Although, in many ways, it's been through no design of my own.
I'll do what I've got to do in my own career and my own life. For my own happiness. I'm not gonna be bent over a barrel and told what to do.
I'm on my own when I say this, but I'm one of the few people that think that 'Everybody Loves Raymond' is better than 'Seinfeld.'
I came to London with a girl. We lived together and split up very quickly. I was on my own in London so started going to comedy clubs.
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