Choose Me Quotes

Do you think that I am an old man? I could prove to this congregation that I am young; for I could find more girls who would choose me for a husband than can carry any of the young men.

That's where I got my start and where I'll continue to work, but I can't tell you the number of films between Drugstore Cowboy and Curly Sue that I auditioned for and wanted that didn't choose me.

I am lucky that the Western world chooses me to play roles in their movies an television, whatever language it may be.

Don't choose me. I'm not worth your time.

This was love, I supposed, and eventually I would come to know it. Someday it would choose me and I would come to know its spell, for long stretches and short, two times, maybe three, and then quite probably it would choose me never again.

I am not the one who loves - It's love that chooses me. When hatred with his package comes, you forbid delivery...

I don't choose. Normally it's the book that chooses me.

Even if I wanted to run for Ethiopia, I wouldn't expect the government or federation to choose me to do that.

When I came to England in '86, my first week of school was terrible because I would put my hand up to answer things, and no one would choose me because they couldn't say my name.

My father, never chooses me for anything. If you needed a kidney and I offered him mine, well, pfft. Well, he'd take it 'cos he was dying. It's not that he doesn't love me, 'cos he does. It's just that special kind of love that feels like neglect.

To keep it simple, why did God choose me? Because He felt like it!

I say God is kind. So many people want to do what I do [comedy] for a living, and so he didn't have to choose me. So I don't take all the credit, but I do know that I love what I do, and I see it as a gift.

The ideas choose me, not the other way around.

I am not the one who loves - It's love that chooses me.

I don't pick and choose subjects or settings; they pick and choose me.

This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.

So many stories, and to choose which ones to tell and how to tell them. The words, they will tap me on the shoulder and they will speak to me: Tell me! Tell me! The stories choose me.

I choose him over and over again, and he chooses me.

I don't choose what I compose. It chooses me.

Dark times call for dark choices. Choose me.

Did I choose you? Did you choose me? And what difference does it make? All that really matters, friend, is that we chose together.

I'm hoping that maybe everyone on the Olympic team thinks that I'm worthy to carry the flag. That's my next goal, to carry the flag during the opening ceremonies, if everyone chooses me.

I always choose an area that is of personal interest, but I don't plan my travels in detail. There are so many variables one cannot predict: the changing light, weather, personal mood, and often just plain luck. Of course, you must have a starting point, so I establish some fixed points then improvise as I go. In many cases the locations seem to choose me.

I choose L'Arche; L'Arche chooses me. I would be dead if I weren't here. I need people to love me and care for me.

Art is free, but of course you have to be alert to catch it when it comes onto the canvas. I don’t choose the ideas, they choose me. I don’t wait for them. They come without my permission!

My father, never chooses me for anything. Unless he needs a human shield. Thirty years and all I am to him is a hunk of meat to block buck shot. Told you dad needed me. Who's the best man now?

If it was a sin for you to choose me . . . then I would go to the Devil himself and bless him for tempting ye to it.

No guy in his right mind would ever choose me when there are people like Hana in the world: It would be like settling for a stale cookie when what you really want is a big bowl of ice cream, whipped cream and cherries and chocolate sprinkles included.

I'm happy to have a physical part in 'High Tension,' in 'Hereafter,' and in a lot of French movies and Belgian movies. But its not by chance directors choose me for physical parts. I like to do that. I like to tell a story also with the body. It's important, because you can tell a lot of things.

Barrel of the gun, rounds one two three She says I have to pick: choose you, or choose me Metal to the temple, the explosion is deafening Lick the blood that covers me She’s the last one standing “Roulette” Collateral Damage, Track 11

I fell in love with him. But I don't just stay with him by default as if there's no one else available to me. I stay with him because I choose to, every day that I wake up, every day that we fight or lie to each other or disappoint each other. I choose him over and over again, and he chooses me.

I chose the shadows; they did not choose me. I stay here securely not just because I feel plain, but because disappearance is by now the easy way. The habit. The worn path that I can trod knowingly and be assured safe passage home.

It sounds corny, but it's absolutely true: A song chooses me. I don't go looking for a certain kind of lyric. It kind of develops its own little arc and I'll just see what happens.

I, not events, have the power to make me happy or unhappy today. I can choose which it shall be. Yesterday is dead, tomorrow hasn't arrived yet. I have just one day, today, and I'm going to be happy in it.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

One opinion I share with the Dadaists is that art-making presupposes a revolutionary state of mind. Assimilating the practice into commodity or symbol of status nullifies its fundamental aims; therefore at the center of my own adherence to to this ranginess in taste is that it doesn't add up to membership in a private club. The differences choose me. There are so many approaches, so many innovative moves, so many oddly shaped ears in the field; may they never sing in unison.

It is our light, not our darkness that most frightens us.

If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.