Quotes About Recognition

Do I get irritated by the no-Pro Bowl thing, never making a Pro Bowl? Yeah, I do.

It means a lot to be Pro Bowl. There's a lot of people who vote and they watch football a lot.

There's not a bunch of pressure at the Pro Bowl.

I didn't make the Pro Bowl until my seventh year I think in the NFL. We continually got better.

Ever since I was at Blackburn, when you talk about getting pro contracts I was never the guy that was talked about as, 'This guy is going to be the best player, the next best thing.'

This is somewhere I want to be for now on, being in the Pro Bowl and being an All-Pro player.

I have led the pro league scoring for flve years and that's honor enough for anybody.

I'm a Pro Bowl defensive end.

I'm often confused with other actors. But the people who know my work don't have that problem.

My problem was I let myself become known before I knew myself.

The problem is, the more famous you get, the more people see you who didn't choose to.

Until you win a series, it's difficult to place yourself in that elite group of great Lions players. It's not enough to produce one-off performances or be nearly-men.

'Killer Joe' was originally written in 1991 and first produced in '93 at the Next Theater's Lab - a 40 seat black box theater in Evanston, Illinois - back when I was getting started. I was just 25 and I had been acting for awhile, but it was my first play and the one that really got me noticed, especially by Steppenwolf.

Australia has produced amazing costume designers that are unheralded.

A lot of people don't know a lot of records that I've written or produced, so that's a highlight for me as a woman.

I was on mad platinum albums... I produced and wrote on them.

I've been in, like, kids' clubs... I've been in the Boom Boom Room in New York, and the kids are going, 'Oh my God, you produced 'Arrested Development?'' They aren't talking about 'A Beautiful Mind' or '24.' It's like the only thing in my whole career was 'Arrested Development,' literally.

All too often, when people think about art in the U.K., they think London. There's some really great work being produced outside of the capital city and I think it is important to stop and acknowledge that.

I am one of the best singer-songwriters this country has produced. Ever.

I've never worked hands-on with a producer. I've been on my own writing, just taking beats and doing what I have to do. I've been on my own. To have Timbaland invite me in and say that 'I want to work with you' is amazing. He's a legend.

No support of one star or one director or one producer can make any individual actor a star. You have to connect with the audience; the audience have to like you. That is something that cannot be manipulated or fought for or tried for. Either they like you, or they don't.

I want to be known simply as a producer who makes music.

It's just that back then we didn't know that was considered being a coproducer. I would sit on the side and say what I wanted musically, but at the time we thought if you aren't the one playing it, you don't get the credit. Now you'll start seeing my name listed as producer.

I'd be saying, 'No, I'm so not a DJ, I'm a producer.' But no matter how much faith you may have in yourself, until you have a hit you can't really run around telling everyone you're a producer.