Quotes About Impression

The receptionist said, "Mr. Englehardt will see you now." She led them down a corridor with thin plaster walls and a bad paint job. Englehardt sat behind a plastic-wood desk. He was probably late twenties with a slight build and a chin weaker than machine-dispensed coffee. Myron

Gerard moved into the room. The man named Titus pinned him down with his eyes. Gerard sat. Another man, what one might call a hippie, entered the room. He wore a colorful dashiki, a knit cap, and pink-tinted glasses.

Cingle was six feet tall with blue eyes and honey-colored hair. Her face was fairly attractive. Her body caused heart arrhythmia—a total, no-let-up traffic-stopper.

Rocco was the kind of gigantic it was hard to fathom, so that each time you saw him, you were struck anew by the sheer size of him. When he strolled around Cornelius's apartment, Simon half expected to hear fee-fie-fo-fum à la "Jack and the Beanstalk.

Myron parked next to a black BMW. There were maybe a dozen other cars, all glistening from fresh washes and waxes or perhaps they were all new. Mostly Mercedes Benzes. A few BMWs. A Bentley. A Jag. A Rolls. Myron's Taurus stood out like a zit in a Revlon commercial. The

Maya had the strangest dream about the reading of Joe's will. The dream was surreal, one of those through-the-shower-stall nocturnal visions where you really can't remember what was said or where exactly you were or any of that. She only remembered one thing. Joe

When they were alone, Linda Coldren began to pace the room. Myron was again awed by her looks—the paradoxical combination of beauty, strength, and now delicacy. The strong, toned arms, yet the long, slender neck. The harsh, pointed features, yet the soft indigo eyes. Myron had heard beauty described as "seamless"; hers was quite the opposite.

When I was about 9 years old, man, I realized that the real thing was not only to do what you were doing totally great, but to look totally great while you were doing it.

You can create a good impression on yourself by being right, he realizes, but for creating a good impression on others there's nothing to beat being totally and catastrophically wrong.

Sometimes dirty can come off really cute or come off 'I don't even want you to touch me.'

When I first got out of school, I went on a children's theater tour, and I went around the country a little bit that fall, and it was the first time I went to Chicago. We spend a couple of days in Chicago, and I was really struck viscerally by the city.

I wasn't sure what to expect when I toured with Danny from The Script, but he is so nice.

Mumbai has so much to offer, but the pathetic spectacle of horse abuse is the first thing that many tourists see, and it taints their impression of our great city.

There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That's Sean Connery! I don't know how else to describe Sean Connery. I still feel that way.

You show up in Paris, and on the drive from the airport to the hotel you're like, 'This is so cool! I want to see something! I want to go to the Eiffel Tower!' And then you leave the next morning. You think, Oh, I didn't get to do anything. I tell people: I've been just about everywhere, but I've seen nothing.

Lose the group shot in front of the Eiffel Tower, where it's impossible to tell you from your friends. He's not going on a date with Paris or your entourage, he's going on a date with you and he wants to know what you look like.

Every single person who enters Trump Tower, you get to see them go up, go down, they talk to the press.

That, for me, is the only real legacy: the idea that one has left a lingering trace in people's memories. In the end, that's all a director can hope to do.

A poet must leave traces of his passage, not proof.

I'm new to a lot of people, and I don't think anyone wants to listen to 16 tracks of a new artist.

I had seen Shawn Levy's movie just before, Just Married. And I think when I met him too, he's very smart and together and he's got it together.

No matter how many times I visit New York City, I am always struck by the same thing - a yellow taxicab.

The only way to explain how some people dress for the airport is they think no one else will be there.

If you are lucky enough to have lived in Paris as a young man then wherever you go for the rest of your life it stays with you for Paris is a movable feast.