I saw 'Y Tu Mama Tambien' with my mom. It was really awkward.
At the earliest age, when I saw a 'wet paint' sign, I had to touch the paint to see if it was wet. When I get stopped at the stoplight in the middle of the night, and there's just no cars coming, and the light is red, I go. I don't think I'm putting anyone in harm's way, and I'll just take the consequences. Because I'm a Libertarian.
Through school, I saw plenty of theatre my parents weren't necessarily up on. They would prefer a football game to watching 'The Nutcracker,' and that's fine. I enjoy both.
I saw Frank Frazetta's art, and it seared on my memory. I love his paintings. They're so amazing.
If I was discovered by anyone, it would be Stephen O'Neil, who saw me in a play at Williamstown and introduced me to my team who I'm still with today. He was the first person to introduce me to the film and TV world. Other than that, I just assumed I would be a theater actor my whole life.
My mother was a dominant force in our family. And I always saw her as the leader. And that was great for me as a young woman, because I never saw that women had to be dominated by men.
There is a psychic gulf that exists between myself and my grandparents because they don't really speak English, and I don't speak Chinese, and that's my own personal shame because I did not learn, ever. I only saw my paternal grandma a few times in my life, and that's really crazy.
I was in heaven when I saw Taraji P. Henson wearing Moschino!
America's revolutionary deists saw themselves as - and they were - participants in an international movement that drew on most of the same literary sources across the civilized world.
When I saw the rough cuts of 'The Village of Peace,' I was immediately intrigued and wanted to share this story on the global stage.
I was born after the Civil Rights Movement. I never saw Martin Luther King alive.
My faith and my identity as a Muslim - I never saw it as something that made my job harder. It's just an aspect of who I am.
You should never have to say hello or goodbye. Even at work sometimes, and I know this is very unpopular, is that if I'm going to work every single day, I don't think you should have to hug people hello every single day when you come to work. I saw you Monday!
Everyone loves the seventies because that's when movies were character-based, and you saw great characters and you saw very interesting filmmaking. There are interesting movies being made now, but it's harder and harder to make them.
I went to Bruges for a weekend away from London. I was supposed to be meeting a girl there the next day. It was a tentative arrangement. From the moment I saw the town, I thought, 'This place is just so cinematic, so gorgeous.' Every corner seemed to offer a new image.
I saw 'Billy Elliot' again, and what I loved about it was the way it had become a social document, a reminder of what happened with the mining communities in the '80s. And I thought, 'Everyone keeps wanting me to make a sequel to 'Beckham,' but maybe a musical remake is the answer, embracing all this theatricality.'
I grew up believing that one person could make a difference. In Indiana, you saw that with basketball. The small town could beat the big town, like in the movie 'Hoosiers.' That is one of the things that attracts me to entrepreneurs.
I saw some Pixar movies like 'The Incredibles' and thought, 'This is extraordinary. These are some of the best movies I've seen.'
'Close Encounters of the Third Kind.' Big, big, big smash for me. My birth of the love of cinema was born with 'Close Encounters' and '2001.' Those sci-fi movies I saw when I was a little kid.
I was living near the Twin Towers on 9/11, so I saw the attacks, and I had friends who were killed in the attacks.
The '80s made up for all the abuse I took during the '70s. I outlived all my critics. By the time I retired, everybody saw me as a venerable institution. Things do change.
I Googled myself, and I saw some nice things and some not-so-nice things. I've learned that that stuff isn't real, and it doesn't exist unless you look at it.
One thing I loved when I was growing up, you maybe saw one review from a magazine like 'Rolling Stone,' but now there are 150 reviews before an album even comes out. There are so many opinions out there, but the only one that really matters is your own.
What it meant for me to win the Emmy is I found it. It's not just the award. It's what it's going to mean to young girls - young brown girls, especially. When they saw a physical manifestation of a dream, I felt like I had fulfilled a purpose.
I both admired my father and his writing, and I saw how much he valued it.
It was funny to run into girls I knew after the movie came out because they would say, 'I saw you on 'Magic Mike,' but there was this look of embarrassment. It was very cute.
I've enjoyed collecting. I've enjoyed art ever since - I'll tell you when - I went to Columbia. I went to the Met, and I saw Poussin's 'Rape of the Sabine Women', and it's this incredible, epic, great, great painting.
I really hope everyone who saw 'Twilight' sees 'Warm Bodies,' but at the same time... I don't resent the comparison on a level of quality because I don't judge other movies like that. Now that I make movies, I see how hard it is to do everything. I pretty much love all movies.
I think I land somewhere between Scorsese and Capra in what I'm drawn to emotionally; I'm drawn to very intense emotion. Capra freaked people out when they saw Jimmy Stewart lose it in 'It's a Wonderful Life.'
I did, like, one or two plays in high school, but I don't think I realized I wanted to do comedy until I got to college, and I started doing improv and saw the Upright Citizens Brigade perform and did workshops with them.
When I came to Arsenal years ago, I saw things from Dennis Bergkamp and Thierry Henry I'd never seen before.
In my view, far from deserving condemnation for their courageous reporting, the New York Times, the Washington Post and other newspapers should be commended for serving the purpose that the Founding Fathers saw so clearly.
I think that Africa has made quite rapid progress and a lot of the conflicts that we saw on the continent have abated.
When I read the script and saw the jazz music setting, and when I read the name of the filmmaker was Damien Chazelle, I immediately got this mental image of Antoine Fuqua.
My father and I never really achieved a real relationship. We probably saw each other 20 or 25 times in our lifetime.
People thought I was an idiot, but I saw social networks were going to be more important, and it turned out to be true.
