Quotes on Really

I think if people really read Martin Luther King, Jr., then they would begin to understand what he really represented.

I came up in 1941 and I played against men who played in the 1930s. I stayed until 1963 playing against men who will be playing in the 1970s. So I think I can feel qualified to say that baseball really was a great game, and baseball is really a great game, and baseball will always be a great game.

If they think they have issues with the president not doing enough for the poor now, wait and see what happens if the opposition takes office. Then they would really need a poverty tour.

I started out really young, when I was four, five, six, writing poems, before I could play an instrument. I was writing about things when I was eight or 10 years old that I hadn't lived long enough to experience. That's why I also believe in reincarnation, that we were put here with ideas to pass around.

My drive to put myself on the line comes from boredom. From that feeling when you go to bed and think, 'What did I do today?' It doesn't have to be something monumental, just a feeling that you really tried to look at something, or look into something.

You have to have really wide reading habits and pay attention to the news and just everything that's going on in the world: you need to. If you get this right, then the writing is a piece of cake.

Being really good at 'learning how to learn,' as President Bill Brody of Johns Hopkins put it, will be an enormous asset in an era of rapid change and innovation, when new jobs will be phased in and old ones phased out faster than ever.

Saying women aren't funny is now like saying Asians can't drive or saying black people have bad credit. It's just really, like, so obsolete.

Having walked on the Moon, I know something about what we need to explore, really explore, in space.

I think if you have any desire to be a leading man or to really carry some of these stories, there's this relationship that has to be cultivated with an audience. People have to be able to say your name.

I don't think any rapper can go back. You can be a car salesman, a bank teller - I mean, really good jobs, and people are still gonna look at you and be like, 'You used to rap; what happened?'

I like flawed characters, and I like seeing people who are supposed to be not villains but antagonists. There are elements to them, which are really annoying, but you kind of see where they came from. You see the things that caused those inadequacies.

I really do think we're going through a period of concentration of ownership of media, and we're starting to see the effects at the editorial level, and it's all bad. This increased pressure for profits every quarter, smaller news hole, less coverage of important stuff - the extent that it's become one giant infotainment industry.

I don't think you can measure wealth in dollars and cents. I really don't believe that at all because there are some things that money cannot buy. One of them is health. And the other is security in your relationships and friends.

Women have to be extremely careful about choosing something that they consider an act of defiance that can really be used to further their enslavement.

Really, the proper study of economics is fulfilment, not consumption... It doesn't even matter if it's a green product or a green house... It's still consumption. What matters in this world is the fulfilment of people's needs and the fulfilment of their aspirations.

Black Power was really a major challenge to the social privileges and structures of the kind of privilege that I had grown up with. That whole belief... that you will only be able to advance if you are perfectly behaved, if you present yourself as what white people would consider an ideal of whiteness... all of that just began to burst open.

As a dancer, you really try to stay true to whatever the choreographer/artistic director is giving you. So, now the shoe is on the other foot and I have to trust everyone else - I have to trust the dancer. As I was trusted as a dancer, I trust my dancers.

In my career as a director, there's always been some point where you get halfway through it, or three-quarters, and you go: 'What is this thing all about, and why am I telling the story? Does anybody really care about seeing this?' At that time you have to say: 'OK, forget that and just go ahead.'

I believe comedy is a really good lens to filter serious issues through. If people are laughing, they don't necessarily realize until they stop laughing that they just took something in that's going to start a conversation.

Trying to build a team over the course of the winter to put on the field is really just half the job. Because if your best players go down, it's not so much him going down as who you replace him with, which ultimately might have the biggest impact on how you end up finishing. So you want to have both a belt and suspenders for support.