Mo'ne Davis Quotes

I had Elvis' number in my book and I never called it.

Before you went to work this morning in the city, did you spend some time with your family? Did you kiss your wife and tell her that she's pretty?

Bought all the Beatle records, I sounded just like Paul.

Who discreetly whispers you forgot to zip up your pants? You babe, you're my bestest friend.

Elvis was just like a big old kid. It was like he never got past 19, I don't think, in a lotta ways.

I worked for a publishing company in Hollywood.

How you choose to present yourself to the world shows what's meaningful to you - and what you want others to think is meaningful to you.

I went to Europe and, as I've been told, ate my way out of a career.

I've been really lucky that I've been exposed to a lot of lovely, talented people who are not jerks and I would like to continue that streak.

My good friend once said, "You guys think you're the stars in your own movie."

One of the reasons I don't do social media is that I like the feeling that if somebody asks me for a picture on the street, I don't have to say yes.

Our relationships with our computers are almost sexual, they're so close. They're just such a huge part of our lives.

Actresses are required to perform the epitome of a certain type of femininity.

I wanted to be Beetlejuice. I watched nonstop 'Beetlejuice' and 'The Princess Bride' growing up.

A weird thing about being an actress is that shooting movies doesn't feel like watching movies. It feels like being in a warehouse.

It's pretty rare that I watch a movie now without seeing the script in a way that I hate, where I can see the stage directions and the choices that the actors are making.

I just think 'Broad City' - Comedy Central's answer to 'Girls' - is the best thing that's been put on television in years. It's amazing.

I've been lucky to work consistently on women who I think are interesting, fleshed out, and strong and active participants in their destiny.

I think more than anything, I think I'd really like to start producing and be in charge of the stuff that I want to see in the world and the stuff that interests me.

I fall in love with something and wear it every day until it's destroyed. My most treasured items have a very short shelf life because I love them too much.

I do a lot of thrifting, but I don't go shopping in a concerted way very often. I find things by accident that I can't talk myself out of, like armadillo purses.

'Breathe In' was such a big deal for me. It was my first anything. Before that, I was going through 'Backstage Magazine' and applying for student films.

Empathy in broadest sense refers to the reactions of one individual to the observed experiences of another

There's no need to travel further. The Los Angeles area is big enough for us.

The three of us pitched in $15,000 a piece to get it started.

Not knowing what's happening, from script to script, as an actor and as a character, lends itself to the same tension and anxiety of not knowing what's happening.

When you do a film, you start to get the character, and then it disappears for a year before it's released and you get feedback.

My approach is to be honest-really honest-and consistent. That is what any growth will take. It is an issue I think [young] generation can be courageous enough to comb through.

I couldn't bare the idea of not being in regular communication with the audience I love - young women of color.

I've been waiting years to have a conversation with Franchesa [Ramsey]! She's so funny and wicked smart. So that's really going to be the experience it's going to intelligent, layered, and hilarious.

Jazz musicians are so comfortable. The reason they can't do what we do is because they're so comfortable doin' what they do.

He sounded to me like he's supposed to be the savior of jazz. Sometimes people speak as though someone asked them a question. Well, no one asked him a question.

[Jazz musicians] feel comfortable with their clichés, you know.

Drummers - sometimes they play and they listen. And that little listen takes a speck away from the right tempo.

The only way a drum machine will get out of beat is for you not to pay your electric bill.

Japanese people they hear my warmin' up and they start screamin'. They can tell it's me.It's my tone on the trumpet, it sounds like I'm speakin'.

If you have a tone like mine that is recognizable. No matter what I play, when you hear my tone you can tell it's me.

Lionel [Richie] said, "Yeah, I learned chords and stuff playin' against your albums."

It's like swimmin' without warmin' up, yuo know what I mean? So [cackles] we use the drum machine, and we take it out.

I really liked Wynton when I first met him. He's still a nice young man, only confused.

Some of [drummers] drop time because they want to hear what you're doin'.

Like Ron Lorman's always sayin', "Na-na-na-na-na," you know what I mean? I don't need that in the studio.

It's a different ballgame now, so that lets [teo] Macero out. He's always complainin', always sick.

I can tell. I'm gifted with that, you know. When I hear that the tempo is slightly off, it's hard for me.

Catch Harry Belafonte. He's got a helluva rhythm section.And so have the Pointer Sisters. And that little guy with Sammy Clayton. He plays the whole show with 40 members.

Somebody, my daughter or my wife, gave me a music box for Christmas. It plays "My Funny Valentine" on celeste, you know? So I had Bobby [Irving] just play "Jean Pierre" with the changes on celeste.

If I have a dynamite bass player - I have Darryl Jones - it's so easy to write for him because he's such a funky kid and he's gifted. He's like a little genius.

The melody is French. But that's the end of the record. I named it "Jean Pierre Then There Were None," you know, because of the big explosion. You'll like it. It's a nice album.

I can hear what I want [people] to play. If you don't hear what you want someone to play, then you can't tell 'em.

Everybody ought to listen to Benny [Carter]. He's a whole musical education.