Fiction writers tend to err either making people more than they are or less than they are. I'd rather err on the side of the former.
Why would you pass another law when the administration fails to enforce the current laws that are on the books. Why pass another one that's not going to be enforced either?
Once you see the impact that you have on people, either at a meet and greet or after a show, you think, 'Oh man, they need to feel better today.'
The imperial, genocidal war machine never rests, so I don't either.
I guess I understand a public intellectual to be somebody who moves public discourse forward: someone who either says something new or says something that everybody knows to be true but is afraid to express.
Architecture has curled up in a ball and it's about itself. It has found itself either as a freakshow, where you're not sure if it's good or bad but at least it's interesting, or at the behest of forces of commerce.
My ideas tend to be either really big in terms of like, the logistics, or really small.
My family didn't like me going on the stage, and they didn't much like my being a writer, either.
Would not obeying to my mother's warnings, who is at least 25 years older than me, be returning to the past? And rebelling against her would mean ruining my mother's, who, I am convinced that, is a virtuous high woman, heart and evaluations. I do not find this right, either.
It is time for Republicans in D.C. to fight. Too often, they give up; they negotiate with themselves. They said they would get rid of the unconstitutional amnesty. They didn't do that. They said they would repeal Obamacare if we gave them the majority. They didn't do that, either.
My district has been hit with three 500-year floods in the last several years, so either you believe that we had a one-in-over-100-million probability that occurred, or you believe as I do that there's a new normal, and we have changing weather patterns, and we have climate change. This is the science.
In Gnosticism, the physical world did not ultimately matter - which meant physical suffering did not matter either. Seeking 'enlightenment' meant cultivating an attitude of detachment, even indifference.
I feel like everybody, whether you have one follower or a million followers, has an opportunity to either positively or negatively affect people.
I bet I made close to 20 tackles because nobody on either side knew what they were doing.
I saw 'A Clockwork Orange' when I was 11. When you watch 'Clockwork Orange' at 11, it either totally scares you from watching movies, or you want to become a filmmaker. I was the latter.
I'm either in heels or barefoot.
I don't miss directing at all, and I don't miss screenwriting either because somebody's always telling you to do something different.
At the end of the day, it's a big difference to get the draw than to get the win, but I'll take either over a loss any day.
When something really hits me, it makes me want to either jump off something really high or lie down and be buried. I want people to get hit and caught by my music.
I think connecting to a character is like connecting to any human being - either you like them or you don't. You might not be able to list the reasons why you love your best friend or what attracted you to them; it's just something that you feel - a connection, an understanding, or a curiosity that makes you want to get to know them.
As neither of these two great research scientists was able to find the solution to the mystery, it is small wonder that none of their contemporaries were able to do so either.
I think every age lives in a blend of technology so there's always older ones mixed in with newer ones, and when the new technology goes down, the immediate fallback position is either that technology just before that or one several technologies back.
Lauren Goode and I have agreed that the next version of the Mac software - all of them are named after places in California - should be named either Bridgeport or Warwick.
The music speaks for itself. You either like it or you don't, or you're somewhere in between. That doesn't change whether I'm in the band or not.
One of the things that I'd like to get back to that I did as a younger actor was to work on, you know, a rep season for a summer where you did two or three Shakespeares, and you'd do a couple of either new plays or classic plays, and you did a different one almost every night.
The president - every president - works for us. We don't work for him. We sometimes lose track of this, or rather get the balance wrong. Respect is due and must be palpable, but now and then you have to press, to either force them to be forthcoming or force them to reveal that they won't be.
When you know what men are capable of you marvel neither at their sublimity nor their baseness. There are no limits in either direction apparently.
I really like being thrown into the works. Many actors, I have found, have this as a common trait. We had to, as children, adapt to various situations with either a military family or things like that.
If you think about movies that are adapted from books, they never feel like enough. There's always too much cut out in the end. You either make a five hour movie or you leave out stuff that should be in there.
After I left college I thought, very naively, that either you became someone interesting - an artist - or you went into academia. If you ended up in an office you were dull and lacking. And I ended up in an office.
I believe there is little to gain by exchanging opinions with other artists concerning either the ideology of art or technical methods.
When I moved to Sheffield and went to a secondary modern in the Seventies, there were certain challenges: if you've got a name like Sebastian, you either learn to fight or to run.
People in high school either feel like they're with the cool kids in a clique, or they're isolated - there's no in-between.
I've actually tried to roast somebody that I don't like, and it doesn't go well. Either they're a bad sport or I'm not as funny as I could be.
There's nothing in Keynesian economics that would allow you to solve stagflation. But there's nothing in neoclassical economics that would allow you to solve stagflation, either.
If there's one thing that I love as an entertainer, it's a spectacle. We all have looked up to either Michael Jackson or Madonna or Janet Jackson or anyone of those things. When I was in *N SYNC, I would watch any concert video ever and really drink it all in.