Quotes on Really

I remember my first visit with my guru. He had shown that he read my mind. So I looked at the grass and I thought, 'My god, he's going to know all the things I don't want people to know.' I was really embarrassed. Then I looked up and he was looking directly at me with unconditional love.

When I was in school, you never saw anyone who looked like us that was on TV. And that was really weird for me because there's so many people of South Asian descent in America - in the world.

For more and more of us, home has really less to do with a piece of soil than, you could say, with a piece of soul. If somebody suddenly asks me, 'Where's your home?' I think about my sweetheart or my closest friends or the songs that travel with me wherever I happen to be.

I think at this point I only write books about questions I really want to figure out. They're indulgences, essentially. I think, 'What would I like to spend five years really thinking about? What could I gain from thinking about for five years?'

Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.

I was born at a bad time for Spain, but a really good one for cinema.

The sweetest joy, the wildest woe is love. What the world really needs is more love and less paperwork.

The nice thing about animation, you don't even really have to account for yourself. All of the physical stuff that you work on as an actor, you just throw away.

You'd expect, as good Darwinian creatures, we would evolve to be fascinated with how the world really is, and we would use language to convey real-world information, we'd be obsessed with knowing the way things are, and we would entirely reject stories that aren't true. They're useless. But that's not the way we work.

The function of the novel is the exploration of the human condition. Really, that's what it's all about.

It'd be crazy to say just because an artist is not successful that means he's not talented. I don't think anybody really believes that, but sometimes it feels that way.

Before I'm a writer, I'm definitely a reader and when I read memoir, I really want it to be true.

I made one rule for myself, and I really try to live it: Play music you love, with people you love, for people you love. If I can't be that kind of musician, I'll drive a cab.

What is for sale, what is not? If we really think that making your apologies to your wife or reading a bedside story to your child are activities that we can pay a stranger to do, then, without moralising, what has happened to us?

It feels like we have two threads running through our lives: one pulling us into the world to achieve, the other pulling us back to replenish us. These threads can seem at odds, but really, they enforce each other. It's not a trade-off between success and sleep.

I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.

As a black and as a woman, I didn't think that I would really want to live in any of the eras before this, because I would inevitably be worse off. I would have spent more time struggling just to prove I was human than doing my work.

Do I really want to do a mobile game that's one of 300,000, where discoverability is everything? You really have to have a little more sizzle on the steak. I would rather be one of 100 apps for Google Glass than one of 300,000 for iOS and Android.

With Sumthin Else Music Works, I wanted to spread the love and give newcomers a chance to make it because something that really helped me were all the people who had given me an opportunity when I was putting my career together.

If you're not pushing your own technique to its own limits with the risk that it might just crumble at any moment, then you're not really doing your job.

We create a standard for how we want to do things, and everybody's got to buy into that standard or you really can't have any team chemistry.