This joyfulness that I felt when I sang, and this need to communicate with people, these are my two strongest points. I've always been a people person. I love people; I like to be with people, and when I got on stage, I was home free.
I suddenly felt the plane go down. I thought we were going to die. I was really scared. I was sitting with my head in my hands.
There was a time in the marriage when I could no longer look at myself in a mirror, couldn't feel I was a nice person. A bad relationship can do that, can make you doubt everything good you ever felt about yourself.
Someone once pulled me aside and said it was all right to succeed, and I realised that I knew what failure felt like, but I didn't know what success felt like. I've carried that with me ever since.
Not proud. But I watched 'The Bachelor' only once, and I really felt, after that experience, that I could never do it again. I felt it was so morally compromising, as a woman.
I was black growing up in an all-white neighborhood, so I felt like I just didn't fit in. Like I wasn't as good as everybody else, or as smart, or whatever.
I was very much in my room with my marionette stage, you know, creating these incredibly boring things that I felt were so fascinating, and forcing my relatives to come, and charging money for them to see my little productions.
My father felt that his world of ideas was too liberal for traditional rabbinical teachings, and he looked for a chance to find a way in life.
After I finished my first draft of 'Salvage the Bones,' I felt that I wasn't political enough. I had to be more honest about the realities of the community I was writing about.
Coming back to Yes is like never having left. Even when I have not been in the band, I have always felt part of it.
I felt like a dork growing up so this is shocking.
I was taught in school that I have to look out for number one. That was against everything that I intuitively felt.
Sometimes we had to improvise. I hate to improvise because I felt like I couldn't find words.
I wanted to be in the theater. It is simply the way I felt.
There was a time when I just felt like a superwoman. I was like, 'I got Jesus! I ain't afraid!' But, the truth is, I want to do things right, and sometimes I am afraid that I'm not good enough or that I'm not going to handle something right.
When I reached America, there was so much space and colour. The possibilities seemed endless. At least that's how I felt at 18. But of course, I didn't have to take the usual immigrant route of battling to find a job and a home in a strange country. I could play tennis. I spoke the language, and I was making money. It was easy, really.
I felt my whole life was a facsimile of a life.
I hope I presented what I felt the woman seemed to be about, but I couldn't give any reason as to why she remained in the relationship other than that their relationship was very special.
For me, however, that beloved, glowing little word happiness has become associated with everything I have felt since childhood upon hearing the sound of the word itself.
I think that Benjamin Franklin felt very strongly in foreign policy in this world, that you needed to at least show some humility, especially when you were strong.
He felt the loyalty we feel to unhappiness - the sense that is where we really belong.
I used to watch dailies and felt I had to keep on top of the character, but I don't feel that any more.
He comes to this other world and he has to reinvent himself. Again, it felt natural, even though I'd been working really hard trying to come up with something.
Ideas rose in clouds; I felt them collide until pairs interlocked, so to speak, making a stable combination.
So nonetheless given the importance that was placed on sport in Australia, I wanted to be part of that scene, particularly since I had felt very strongly in my early schooling being marginalised even in the Catholic school.
I'm a product of Russian culture, but I never felt it was my country.
The Kiss scene was attempted three times. The first was in a peculiar spot of the fort on the ground level. It felt forced to me, and I knew right away that, in spite of what others were saying, it was dead wrong.
I always felt of myself as a composer, performer, improviser. I've never called myself a jazz man. I make art.
I had no album title, and the album is like a journey in that it's a complete body of work. It's not just a couple of catchy songs and filler, so I felt that I needed to capture the essence of the album.
I began writing a book on love because I felt that the United States is moving away from love.
My parents broke up when I was six. Before, I was a very active, naughty child, but after my father left me, I stopped talking. I became very good at hiding my emotions. I felt so ashamed of telling others that I didn't have a father, because that was not common in the 1960s.
It happened to me on 'King of the Hill,' where I'd left it before the end and didn't really participate in the ending, and I always felt a little bit like I wanted to try a different version of that story.
Like many other women, I could not understand why every man who changed a diaper has felt impelled, in recent years, to write a book about it.
For some reason, I had a responsibility to my family and the people who lived around me. I felt that I had to convey their dignity - the way they dealt with adversity and poverty - and their good humor.
Every night we all felt grateful to be there, stunned at the amount of people that are there, and stunned at their reactions. They go crazy; they know every lyric from eight years of age to eighty. It's unbelievable.
At the age of 16 I was already dreaming of having a baby because I felt myself to be an adult, but my mum forbid it. Right now, I feel like a teenager and I want to have fun for one or two more years before starting a family.