When you're in the right system, right fit and you got the right structure, it's easy to see certain players blossom. That was a key for me.

I want to see talent and companies and money and entrepreneurs moving to Chicago.

When you see a fly flitting around your hair or your potato salad, you might see an annoyance. But in my lab, you really see a marvelous machine: arguably the most sophisticated flying device on the planet.

I see tremendous imbalance in the world. A very uneven playing field, which has gotten tilted very badly. I consider it unstable. At the same time, I don't exactly see what is going to reverse it.

I'm lucky. Usually you're dead to get your own museum, but I'm still alive to see mine.

I really want to see normalization of queer sexuality - as well as the lack of sexuality.

The body is meant to be seen, not all covered up.

L.A. is only where you live, because otherwise it's just a sprawling mass of everything, and I think if you live in L.A., you get a little network of places you go, and people you see, and when you leave town, you do miss those places and your friends.

It is always good to see a full house.

You can't troll somebody who doesn't see it.

You don't come to see a Greek play and not want blood and gore and depth of feeling from your boots up.

I've always made my decisions based on two factors: intellectual analysis and my gut. And when they meet, that's a go from me. That's when I see the goal.

There's going to be games where you're asked to do things that people aren't always going to see.

To see me as a person on screen would be one of the dullest experiences you could ever wish to experience.

I hate to see complacency prevail in our lives when it's so directly contrary to the teaching of Christ.

Martin Scorsese, everything he does, I've got to see. And Jack Nicholson, I've got to see what he does.

Sequoia seeds have flat wings, and glint and glance in their flight like a boy's kite.

As an audience, if you see 1800s or something, it more often seems that the actors are carrying the weight of the time. It always has a Shakespearean tone to it. To me, that always feels very theatrical and very unrelatable.

I would love young girls to look up and see my string section or my brass section or the steel band and be like, 'Wow! I never thought I could do that, that's wicked! I want to be up there doing that.'

Personally, it was hard to see Emmitt in red.