It's well-known that people don't respond to scarce resources necessarily in what we might consider a positive light.
People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don't respond to that the way I used to.
1963, because of the sense of moral authority that the civil rights movement had, we were able to get people to respond, because of the quality of our demand and our sense of moral authority.
I realised that people respond to banal things. They don't accept their own history, not participating in acceptance within their own being.
I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.
We respond to a drama to that extent to which it corresponds to our dreamlife.
I can easily ignore my detractors and feel the people who respond favorably.
I don't like getting people upset, so that's not my goal. But I like putting people in situations where how they respond says a lot about them.
Most people respond to my paintings quite generously, but there have been cases where I think people - a few critics in particular - were actually moved by the work but were disturbed by the feelings it evoked, so they attacked it. Some people find the realm of my work quite uncomfortable.
You can't really ask for anything more than to be working for your entire life - and to be doing something that some people respond to.
I have known in my heart since I was a little girl that music was a major part of my life and always would be, but seeing others respond to the words I sing amazes me.
Actors usually respond to minor aspects of their own character or things that even feel disparate from themselves.
When you really need help, people will respond. Sincerity means dropping the image facade and showing a willingness to be vulnerable. Tell it the way it is, lumps and all. Don't worry if your presentation isn't perfect; ask from your heart. Keep it simple, and people will open up to you.
It's not fun to get out of bed early in the morning. When the alarm goes off, it doesn't sing you a song: it hits you in the head with a baseball bat. So how do you respond to that? Do you crawl underneath your covers and hide? Or do you get up, get aggressive, and attack the day?
We cannot always control everything that happens to us in this life, but we can control how we respond. Many struggles come as problems and pressures that sometimes cause pain. Others come as temptations, trials, and tribulations.
I'm not really looking for theater work. But if somebody approaches me with enthusiasm, I might respond.
People respond to something which intrigues them instead of something that gives them all the information - particularly in pop, which is, like, the genre for knowing way too much about everyone and everything.
African Americans are concerned about the scourge of abortion in their community, and respond to related facts and figures. Large majorities agree that every life should have a chance, regardless of race, socioeconomic status or circumstance.
I think the Eritrean government is aware that any full-scale invasion of Ethiopia along the lines of 1998 could turn out to be suicidal... And we will not respond to any provocation short of all-out invasion. We are already engaged in a much more fruitful war - against poverty.
Most Americans and other Westerners claim to have read all or part of the Bible. However, when asked to identify even four books of the Bible or four of Jesus' disciples or four of the Ten Commandments, fewer than half even attempt to respond and fewer than one in ten respond correctly.
To respond to people's needs, humanitarian action has evolved from a temporary fix to a long-term safety net.
There are people who don't respond to color. That's what painting is. It's color.
The single best piece of advice I give to aspiring writers is to always write about things that they know. I suggest that they write about people and places and events and conflicts they are familiar with. That way their writing will be real and hopefully readers will respond to it. I try to take my own advice.
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception.
It's a visual world and people respond to visuals.
Soybeans really need an uplift, being on the dull side, but, like dull people, respond readily to the right contacts.
Some social scientists say that in-group/out-group biases are hard-wired into the human brain. Even without overt prejudice, it is cognitively convenient for people to sort items into categories and respond based on what is usually associated with those categories: a form of statistical discrimination, playing the odds.
The Klan had used fear, intimidation and murder to brutally oppress over African-Americans who sought justice and equality and it sought to respond to the young workers of the civil rights movement in Mississippi in the same way.
If I read something and respond to the role, that's what happens, and if those happen to be a few comedies in a row, or not, so be it.
What makes most of us who we are most of all is not our minds and not our bodies and not what happens to us, but how we respond to what happens to us.
