action Quotes

Action is a universal language, so everyone understands a punch and a kick.

During \'Race 2,\' I had to lean down completely because there was a lot of action scenes in it.

Animation is a completely different world than live action.

Every challenge we face is a call to action, a chance to stand up for the values and freedoms that make America strong.

I\'ve been actively trying to extend my reach beyond WWE. I wanted to do some non-action related projects, stuff that will resonate with different audiences who might not know who I am.

My hats off to anybody filming action, because you get beat up. If I\'m going to get the crap kicked out of me, I would love 15,000 people on hand to tell me that I\'m doing good or I\'m doing bad. So, if I\'m going to be in any physical duress, I\'d really like it to be in a WWE ring, which is why I was so amped to be a part of \'Trainwreck.\'

I\'ve done a lot of films that are purely live-action roles, and even if I hadn\'t come across performance capture as a technology, I think I\'d always consider myself a sort of mercurial actor.

They [Seth Rogen and Evan Goldberg] thought of this brilliant pot, or whatever, movie [Pineapple Express], an action movie and I guess they figured in a small role for a blonde. And they say that I did my part well. I added tears to the movie.

It\'s just kind of seemed like a funny way to explore action movies, I guess. I mean, I\'m a big fan of them always. It\'s always people who are very equipped to deal with the situations that they\'re thrown in. So, the notion just seemed funny, because it\'s, like, basically stoners are kind of the last guys in the world who are equipped to deal with that. And the humor possibilities just seemed somewhat endless.

We really wanted it to be an action movie. Those are the movies that we love. We\'re big fans of like Shane Black movies, when we were younger - me and Evan [Goldberg].

The original idea [ of the Pineapple Express] came from Judd [Apatow] actually. He just kind of had the loose notion of like, \'What about a weed action movie?\'.

You can actually improvise a lot as a voice actor. It\'s not that entirely different than shooting a live action movie; the characters mouths are quite easy to manipulate once all the information is built into the computer. So you can improvise a lot and it doesn\'t matter really how far along they are in the process they can really just make the character say something different.

Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.

I\'ve done a collaboration with Action Bronson, which is, like, the coolest thing I\'ve done so far.

Doubt is a necessary precondition tomeaningful action. Fear is the great mover in the end.

John McTiernan, the director, is not Ingmar Bergman. He does action-adventure movies.

Uncritical American boosterism - automatic endorsement of every government action - is myopic and self-defeating.

I never thought, as a kid, that I\'d have an action figure, much less an action figure sold in a two-pack with Jake The Snake.

I went to Hollywood. I put the action in Hollywood. I watched a lot of movies, maybe 100 or something close to that. I have tons of DVDs now at home. I don\'t know what to do with them because they\'re not useful anymore. My kids never watched them. I read a lot of autobiographies, listened to a lot of music by classical era composers like Franz Waxman, Max Steiner, Bernard Herrmann, Alfred Newman and Leonard Bernstein. I listened to only that kind of music the entire time I was writing, even at home.

Responsibility demands action, and dealing with the immediate threat must naturally be a top priority.

My literal responsibility as director of the CIA with regard to covert action was to inform the Congress - not to seek their approval; to inform.

A play is a parenthesis that contains all the material you think has to be contained for the action of the play. Where do you end that? Where the characters seem to come to a pause... where they seem to want to stop - rather like, I would think, the construction of a piece of music.

The characters\' lives have gone on before the moment you chose to have the action of the play begin. And their lives are going to go on after you have lowered the final curtain on the play, unless you\'ve killed them off.

Anytime you get action legends together, it has to be a classic.

Duty is that mode of action which constitutes the best application of the capacity of the individual to the general advantage.

We have, all of us, our duties. Every action of our lives, and every word that we utter, will either conduce to or detract from the discharge of our duty.

In diabetes mellitus the case is as follows: the ego-organization, as it submerges in the astral and etheric realm, is so weakened that it can no longer effectively accomplish its action upon the sugar-substance. The sugar then undergoes the processes in the astral and etheric realms which should take place in the ego-organization.... From all this we see that a real healing process for diabetes mellitus can only be initiated if we are in a position to strengthen the ego-organization of the patient.

Sounds are vibrations and the more you can put into that vibration, the more you can get out, action and reaction, that\'s the thing to tell the people.

We\'ll keep on being re-born because for the law of action and reaction: \"What-so-ever a man soweth, that shall he also reap;\" you reap when you come back in your next birth, what you\'ve sown in your previous incarnation, that\'s why I\'m me and you\'re you and he\'s him and we are all whoever we are.

The action that I\'ve started, sometime I\'ll have to face. My influence in motion, rebounding back through space.