Felt Quotations | Page 2

In the early days of the Russian Revolution in 1917, I was completely in sympathy with it. I felt that it established a new era in the history of the modern world. I was so overwhelmed by it that, if people made any unfriendly comment, I would vigorously defend it. If people condemned the Communist party, I would speak in its defense.

I never felt like someone who was boyish and coming to terms with asking girls out or anything like that, which was what 'The Big Steal' and 'Spotswood' were about. But I guess that's the impression I left on people.

I've always felt that, in America, we're all equal. I don't care what you make or what kind of car you drive. You're not better than me.

I remember being this little girl missing her daddy and living so far away in France and from anything that was familiar to me. I felt so different and so isolated. When you're removed from everything that's familiar, you realize who you are.

To be honest, I owned one suit before I filmed 'Mad Men' - the one suit that you have to have as an adult. Outside of that, I never really felt comfortable in a suit.

Living in France while the Falklands War was going on, I felt a profound sense of shame and betrayal, just as I did by the war in Iraq. People have asked why I don't talk about that directly in my plays. Well, politics needs to be articulated in many different ways.

I just felt like I had to create a life for myself where I was more independent.

I felt my whole life was a facsimile of a life.

I never felt I was incapable of succeeding because I felt confident I could always learn what I needed to know.

I thought I'd be a journalist, and only pursued acting intermittently while studying. My very first interview as a journalist was with David Usher of Moist, and he called the magazine the next day to say it was the best interview he'd done for his solo album. I felt like a million euros.

It was inevitable that in doing this I should arrive at new results, and it is perhaps understandable that in the end I have felt impelled to present these results not only in the dry form of a catalogue, but also in a more connected and personal one.

Acting is a precarious business. I have had periods where I felt like I couldn't get arrested, but you have to see it as a long game.

I've often felt I've been born out of my time, and when I started Fairground Attraction in the 1980s, I wanted to be a 1940s jazz singer.

Nearness to nature... keeps the spirit sensitive to impressions not commonly felt and in touch with the unseen powers.

I liked working on 'The Grudge 2.' It was really fun, and I got to meet a lot of cool people. I think the film is a fine example of horror, and I felt excited that I could act in something like that.

In June 2010, after more than 38 years in uniform, in the midst of commanding a 46-nation coalition in a complex war in Afghanistan, my world changed suddenly - and profoundly. An article in 'Rolling Stone' magazine depicting me, and people I admired, in a manner that felt as unfamiliar as it was unfair, ignited a firestorm.

In the early days, I really felt the pain of not being able to find information easily. I guess that helped me to develop an urge to write things like a search engine.

I started working on OpenBSD, and many earlier projects, because I have always felt that vendor systems were not designed for quality.

For me, growing up, I felt like there was something fatally and tragically flawed in my nature and that it was my duty to try to avoid falling for that vice.

I lived in Hollywood long enough to learn to play tennis and become a star, but I never felt it was my home. I was never looking for a home, as a matter of fact.

I felt that the IRA, in the context of Irish history, and Sinn Fein were a legitimate force that had to be recognized, and you wouldn't have peace without them.

Mom worked as a school librarian, and she felt summers were for education.

Whether it was H. P. Lovecraft's doomed towns or Shirley Jackson's lonely, looming 'The Haunting of Hill House,' the boondocks had all the fun. As a black kid in Queens, New York, I couldn't have felt more removed.

When I'd go to Israel, I felt like a tourist. My social and professional ties had started to dissolve, and it confused me. I didn't know whether I should stay here in Paris or go back to Israel, or even cut off all my ties with Israel so I could really plant roots here. Or maybe go somewhere else altogether.

And I came back and it was great, 'cuz George had set up all these flowers all over the studio saying welcome home. So then we got it together again. I always felt it was better on the White one for me. We were more like a band, you know.

The inner me was always under attack by authority, by the way my parents wanted me to be brought up, by these English schools I went to. So I've always felt this kind of anti-authoritarian strain in me, pushing to express itself despite the obstacles.

When I started writing, I thought nobody would understand the things that I liked. Then I began getting a lot of letters from people who said they were waiting for me to express what they felt they couldn't, so I kept writing.

I began writing 'The Cold Song' in the months following my father's death, when I felt this sense of loss, disappearance, of being right in the middle of life and wondering: 'What now? How to proceed?'

Long before the arrival of reality TV - before speed cameras, before recording angels on buses and lampposts - I felt I was living in a country that already knew how to watch itself. It was journalism that held the responsibility for seeing who we were and noticing what we did.

When I was in the group homes, I saw some of the kids being moved into foster homes with the potential for adoption. I remember well asking a social worker if I could find a home, too. I was told I was 'too old' and 'no one wants to adopt a 16-year-old.' I felt hopeless and alone.

Some creative writing programs seem evil, but my experience at Irvine was totally the opposite, where I feel like they were really good at focusing in on each writers voice and setting. When I felt like I was obligated to write a story that was more typical, no one really liked it.

I've always felt that the traditional novel doesn't give you enough information about the narrator, and I think it's important to know the point of view from which these tales are told: the moral makeup of the teller.

As England manager I always felt we needed an extra man in midfield to retain the ball, but that was more as an attacking ploy to help create opportunities. It came from my experience playing international football in a 4-4-2 and spending half my time chasing the ball.

And, so, when I picked up the guitar, suddenly, just playing a couple of notes really, really spoke to me. It was almost like I should have been doing it prior to that. You know, it was something that just felt really natural.

I never predicted that I'd be a comedian, but it was something that came so naturally to me. I just felt good doing it.

I was five years old; I got addicted to being on stage. I felt like it was the most wonderful place on Earth, performing in front of an audience, who in this case were a bunch of classmates, kids my age.

As an Egyptian, I was always frustrated, just like many young Egyptians, of the situation in the country. And to a large extent, we didn't know what could we do. And looking at Khaled's photo after his death; basically I just felt that we are all Khaled Said.

These issues are so important. I just felt the best thing to do right now is contribute and go forward.

I felt like I was never going to be a great writer. I felt like I was going to be a good writer at best. I wanted to be great at something.

First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.

I felt uneasy, but sometimes, like I said before, I believed in Col. North and there was a very solid and very valid reason that he must have been doing this.

I come from an intense family - like, we're just intense people. Not bad people or anything, we are just very intense, and I have just always felt like people who weren't like that were just a kind of hiding it, like when I was really young in high school.

For years, I've felt like the loneliest brother on the planet. I don't play basketball, I can't dance, and I'd rather listen to Harry Nilsson than hip hop.

On 'Dawson's Creek,' those kids were supposed to be outsider kids - you know, wrong-side-of-the-track kids, weirdo kids. And I just felt like there's no universe out there where Katie Holmes isn't the prom queen, hottest girl in school.

I felt very strongly the whole social impact of that depression, you know, and I felt very strongly about the efforts that this Resettlement Administration was trying to accomplish; resettling people, helping them, and so on.

Once I looked into a mirror at my face I felt like it was completely convincing. I was Salieri.

I believe that we have been doing this not primarily to achieve riches or even honour, but rather because we were interested in the work, enjoyed doing it and felt very strongly that it was worthwhile.

The connection to place, to the land, the wind, the sun, stars, the moon... it sounds romantic, but it's true - the visceral experience of motion, of moving through time on some amazing machine - a few cars touch on it, but not too many compared to motorcycles. I always felt that any motorcycle journey was special.

Communion was born out of shared frustration in 2006. We felt that although the likes of MySpace and YouTube opened up the playing field for songwriters online, people's discovery of these new artists was only skin deep.

There were points in my life where I felt oddly irresistible to women. I'm not in that state now and that makes me sad.

When I had dark hair I definitely felt that I was more anonymous.

Stuart Hall was an utterly unique figure. Although he arrived at the age of 19 from Jamaica and spent the rest of his life here, he never felt at home in Britain. This juxtaposition was a crucial source of his strength and originality. Because of his colour and origin, he saw the country differently - not as a native, but as an outsider.

The more I act, the harder it gets, since I feel like I still have so much to learn. Whenever I embark on a new project, it always feels like the first time. If it were easy to me and I felt like I knew everything, my acting might have been different. I think the feeling of 'newness' keeps me on my toes and concentrated.

In my adolescence, I think I felt very outcast; I felt lonely. I felt great loneliness, and sometimes I wouldn't partake in Christmas, and I would go off and wander in the streets of Melbourne.

I think with my journey so far, it never felt like an overwhelming, overnight success story. I think that's good for me because I really got to take my time.

When I walked out on the mound, I felt enclosed. You see, I'd been used to playing on pastures, where when somebody hit a ball you had to stop it from rolling. Well, this field had fences around it.

There have been many times in my life when I felt like I'd never pick up the pieces, but God has always given me the power to do it.

I'm not a short person; I'm 5'10 and I was wearing heels, and I felt like a tiny little creature next to Shaquille O'Neal.

I think Dogme was inspiring for quite a few peoples and sort of started a digital movement. Personally, I found it extremely uplifting and fantastic making Dogme movies, but I felt I completed it with 'The Celebration.' I think that was the end of the road on Dogme for me. It was as far as I could go.

I was pretty as a child and I felt that I wasn't very manly and that plagued me for years.

Some directors were brilliant in the silent era but never felt at home in sound. It's like a sculptor being forced to take up painting.

The other thing I felt was that the philosophical concept behind the experiences also looked like it had been designed by technicians and not by entertainers. I felt I needed to grab hold of it and try and push the envelope as much as I possibly could right now.

I've always kind of known what I like and what I don't. And never felt any pressure to wear certain things or watch certain things... It's hard to explain, but I've just always felt it.

I always did plays. When I was in kindergarten, I got chosen to be Alvin in 'The Chipmunks.' We did a Chipmunks song. I was always a natural performer. It was easy for me. I danced and I sang, and all that stuff. I felt like I'd be something in the arts, but it vacillated between being a dancer and a singer, or whatever.

I got bored with the topic; I felt this was 19th century physics. I was wondering if there was still something profound that could be made with light microscopy. So I saw that the diffraction barrier was the only important problem that had been left over.

I just felt like I was making people angry because I wouldn't wear the frilly bows.

My entire adult life has been devoted to family and career, each adding to the other in many rewarding ways. I have never felt that I had to set a pattern for my writing and teaching.

I have very vivid dreams - almost always action-adventure. I'm often on the run. I've always had dreams. When I was little, I'd go to sleep with my head on my hands, which were in fists like I was looking through a camera. I felt like sleep was the movies - just drifting off to the movies.

When I retired from active duty, I still felt that I owed something to my community. That's why I pursued education... I still miss the classroom and recall those days fondly.

I think the toughest part for me was when Herschelle said that he obviously looked up to his Captain, and he felt if his Captain could do it, then so could he, and that to me was when it really struck home.

I've felt that if you dwell too much on your errors, you're dealing in the negativity of things. I don't like that. I'd rather work on the positive reinforcement, the things I did well.

Towards four o'clock, the rebels felt strong enough to take the offensive. A brigade with a battery under Earle managed to strike the Federal right on the flank and rear and throw it into utter confusion, which spread rapidly along the whole front. Now came the disastrous end.

I remember thinking, 'I can't act.' Pretending to be someone else is a terrifying thought. The thing was that, along with other people, I could create a whole world. I felt absolutely right directing.

My dad had always been a big decaf coffee drinker. But my mom had always been more of a tea drinker. So I grew up around a lot of tea. And I also really love tea. But I'm not one of those people who has ever felt the need to choose between coffee and tea. I think that is a completely false dichotomy.

We in the Negro leagues felt like we were contributing something to baseball, too, when we were playing. We played with a round ball, and we played with a round bat. And we wore baseball uniforms, and we thought that we were making a contribution to baseball. We loved the game, and we liked to play it.

The 1950s felt so safe and smug, the '60s so raw and raucous, the revolutions stacked one on top of another, in race relations, gender roles, generational conflict, the clash of church and state - so many values and vanities tossed on the bonfire, and no one had a concordance to explain why it was all happening at once.

Right before I got 'Sons of Anarchy,' I actually quit acting for 18 months and didn't read a single script, and I wrote a film. I felt like I needed to do something that I had control over, as an artist, and also just do something where I felt like I had some control over my life, as just a human, out in the world.

I didn't know until high school that I was interested in writing in any real way. But there was this boy that I had a crush on, and I used to tell him all the time what I felt about him. Finally he gave me a blank journal and said to write it all down - and it didn't take me very long to realize how much I loved writing.

But today I felt different, today I forgot how long it takes to get into the skin of a character and I remembered it, because today I actually got into that skin and it felt so different.

When you're 22 or 23, you think the world revolves around you, and I felt that way for a long time. But I just turned 30, and I love it! You realize, 'Whoa, baby, you ain't all that.' And you're not! You're just a woman out there doing something she loves.

I needed to give back, give back, give back. I felt guilty about my success. I felt uncomfortable about how easily I had been delivered this extraordinary life that I had.

Poor Andy Nave was killed. He refused to surrender and was shot by Dick Fields. I felt sorry as he used to be quite friendly towards me before the war, but it could not be helped.

I grew up a clumsy kid with bad hand-eye coordination. Yet here on El Cap, I felt as though I had stumbled into a world where I thrived. Being up on those steep walls demanded the right amount of climbing skill, pain tolerance, and sheer bull-headedness that came naturally to me.

There's definitely a whole different vibe on the set when there's like basically royalty working with us. We could have whatever we wanted. I felt like Britney Spears.

When students have thanked me in the past for being their teacher, I have always felt that it was actually my love for the art of teaching they were speaking to.

I think you have regrets when you didn't give it everything you had, and I always felt like I did. Whether it was good enough or not, that has nothing to do with the fact that I tried my best to give my team a chance to win, year in and year out.

As a young man, I felt a need to communicate with somebody or something, but it seemed in my own particular environment that that wasn't an option. On the other hand, I probably lacked the courage to do so, even if it was an option.

I always felt God had called me to serve within the church because of what the church stands for. This has always been home.

If I were doing a real rock show, slapping the phone book in time to the music, grooving with the songs, then it would matter to know how I felt about what I was playing. You can't fake it in that situation. But I'm just counting them down as they appear on the chart, 1 through 40. What really matters is what I say between the songs.

So I was always passionate about it and felt that it was sort of the golden thread inside me in terms of what I was supposed to do in terms of work but I think I have relaxed a lot in terms of the actual experience and actually enjoy it more and enjoy the people more.

And the young people in the 1960's identified with it immediately, because, I guess the young people had been having years of repression really. They felt that the, you know, after the war everything was very austere, particularly in Europe.

I was not athletically inclined. I was very quiet, introverted, non-confrontational. My three older brothers were athletes - basketball, football - but I was kind of a momma's boy. Then one day, my brother Roger encouraged me to go to the boxing gym with him. I tried the gloves on, and it just felt so natural.

I'm persuaded today that the only way you can get into another country with a different culture from your own is to find a local partner who knows the market. Discovering this felt like small children discovering that if you put a bobby pin into an electric plug you get a shock!

In my whole life, when I've watched TV and movies, I've almost always felt, 'I could do that better,' and I thought everyone felt that way.

You get a feeling about things, and if you trust yourself, which I've grown to do, I felt like I had a pretty good indication of how to play the role.

I wrote in coffee shops in Japan when I was 22, 23, before I had the stamina to sit down and write. I liked the buzzy environment; I couldn't speak Japanese when I arrived, so it was kind of a white noise. It felt more sociable than being alone, but now, as I've developed a writing practice, I couldn't do it.

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.

My mother was suffering every day of her life, and what right did I have to be happy if she was suffering? So whenever I got happy about something, I felt the need to cut it off, and the only way to cut it off was to pray. 'Forgive me Lord.' For what, I didn't know.

When I decided I wanted to go to drama school, I realized that a lot of the actors whose careers I really admire and whose work I really admire were English and English trained. I felt there was a real vocational feel to work in the U.K.

I felt pretty good growing up. I didn't feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.