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I saw what it means to work every weekend and every night, and I realized it doesn't work for me. It's not necessary. If you know what you want, you can achieve it without going crazy.
The vulnerability of opening your heart fully and deeply to another is terrifying, but at a point in my 50s, I realized that I had to step up to the plate.
At some point I realized that you don't get a full human life if you try to cut off one end of it, that you need to agree to the entire experience, to the full spectrum of what happens.
Before I realized I had faults, I was already joking about it, to get attention. By the time I went to high school, I had a pretty practiced routine down.
You many have noticed I have a temper ... but when I calmed down, I realized that this world, blighted and imperfect as it is, would be better with you in it.
I remember when I was 33 or 34, it was devastating because I realized I wasn't a kid anymore. The great thing about 40 was that I really felt like I had life experience and knew what I was doing now.
I realized the structure in a collection is how they're put together. Structuring the collection became the art of it for me. Because the stories had all been written.
I realized, in removing or rewriting these jokes, that often the jokes weren't done or that I was using, for me, the curse words as kind of a crutch. So then I just started writing.
From that point of view, I realized that my hole was not miles deep after all. My father, in fact, could stand on the bottom and it only reached up to his chest. Darkness, you know, is relative.
This is what it always comes down to, I realized. There are the ones who believe, and the ones who don't, and caught in the space between them are guns.
With 'Taxi Driver,' I had this eureka moment. I realized that acting could be much more than what I had been doing. I had to build a character that wasn't me.
For a while I had a blues band in L.A., but I realized I was too optimistic to play the blues. I did not have the misery in my heart that the blues required.
I've learned that each day is definitely a gift. When my dad died, I made sure I said everything to him. I realized that once he's gone, he's gone. No matter how angry or resentful or whatever.
In my mind I needed a symbol of today's technology, and I realized that what I wanted to photograph was the Space Shuttle. And so that's where Places of Power came into being.
Spending time in jail really helped me stay away from what my brother did because I got a taste of jail time. I realized this isn't the life I want to live being locked up 24 hours a day.
I started pulling gags on Al [Pachino]. That was the moment I realized that he was absolutely out of his mind. I mean that he's certifiably insane. I wouldn't spend a night in a room where he's at.
I realized [using my own voice] is what creates the performance in the performance art and that's what helps creates the distance for the viewers, like the distance that I get when I step back.
I realized that was what was happening in my work already. I think that's where, as artists, we begin to master our craft: when we're able to step back and understand things.
The moment where I realized how little I actually was, was when Dave Bautista picked me off the ground and I still wasn't even at his pec yet. I was like, "Oh my God, this man is massive."
I took my fear to literal heights and went skydiving over a year ago. It was in that moment, gazing over the precipice of the plane, when I realized what scared me the most, the unknown.
I realized that improvisers should probably always have time off. But musicians are always gigging and never have a chance to stop for a minute - unless something drastic occurs.
I had studied piano since I was 13, but I was surrounded by students who'd been playing since they were 5. I realized I was never going to be anything but mediocre.