I hope to become a better teacher. I love teaching.

I made my drama teacher cry. I only took drama to get out of writing papers in English and the teacher was this thespian Broadway geek and here I was this Italian guy from Staten Island and I would put her in tears.

I grew up in a house with a mother who was a teacher and a Freedom Rider - very left-wing Democrats living in a heterogeneous working-class neighborhood. I picked up a lot of those values there, and I brought them with me when I showed up in Hollywood.

I had a public school education - 3,000 kids when I was there. And there were a lot of teachers who would just sit there. You'd come in and sign your name and the teacher would just sit there at the head of the class and you would literally just have to stay in your seat for 40 minutes and that was the only thing you'd have to do in class.

I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting - he was adept at all facets of Chinese culture.

I would rather trust my child to a serpent than to a teacher who does not believe in God.

I had a history teacher who taught us a lot about the Cold War. You had these examples of countries where the government had tried to manage the economy really intensely, and it ended up being bad for the citizens there. I found myself beginning to lean more right on economic issues.

No individual has done more to help me pursue a career in science than my wife of forty-five years. I met Enid Cassandra Morgan during the election campaign of 1948 when she was a Sunday school teacher, a leader of the youth organizations of St. Phillips Episcopal Church, and the head of Harlem Youth for the election of Henry Wallace.

For the longest time, you just sound like a broken record, but you have to be consistent when teaching kids.

No one wanted me to be a conscientious objector. My parents certainly didn't want it. My teacher and mentor, Joe Brearley, didn't want it. My friends didn't want it. I was alone.

My dad was somewhat of a naturalist and used to teach us about different birds and trees. So did a fifth grade teacher who made a lasting impact on me; to this day, I remember his lessons about counting the needles on pine trees, seeing if they are twisted or straight, and about checking the tips of oak leaves to see if they are pointed or lobed.

I wasn't a ballet baby. My first dance class was in an outdoor pavilion when I was three. It was called 'creative movement.' The teacher gave us chiffon scarves in beautiful colors. She turned on some music and said, 'Now go dance.' So for me, dance has always been about self-expression.

I want to be involved with young people in some way. Teenagers. Because that's the most vulnerable time. I have a fantasy of becoming a teacher one day.

About Grade 9 and Grade 10, I had a fantastic drama teacher, and it was one of the first subjects I actually felt that I was good at. I wasn't a mathematician. Didn't like science, any of those subjects. English and Drama were the two subjects that I loved and felt that I was good at.

Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, 'Oh, that's me.'

A teacher is never too smart to learn from his pupils. But while runners differ, basic principles never change. So it's a matter of fitting your current practices to fit the event and the individual. See, what's good for you might not be worth a darn for the next guy.

There is no teacher, living or past, who can give us the actual understanding of Truth. A teacher can only put our feet upon the path and point the way. That is all. It is wholly dependent on the individual to make his way to Truth.

Golf is about knowledge, and studying another player - more than listening to a teacher - is the best way to get it.

Ultimately, it is only the witness who convinces people, not the teacher.

Experience is the best teacher of all. And for that, there are no guarantees that one will become an artist. Only the journey matters.

In the balance of my professional life, I've had the privilege of the working as a practicing lawyer and teacher.

Maybe I was unpopular a bit because I was a teacher's pet. But even the teachers complained about me. They would say to my parents, 'For every one question any pupil asks, Walter asks 10.'

When I went to college, my goal was to be a college history teacher. I majored in history.

I could never have a better teacher in those days than my father.

We lived in the schoolhouse of the village school in Church Preen, in deepest Shropshire, and my mum was the schoolmistress. She taught the juniors, and one other teacher taught the infants. I went there from the age of three, no doubt as a form of childcare.

I actually got thrown into my Bar Mitzvah because my teacher, my Cantor, did not tell me that they would all say 'amen' at the end of each, for want of a better word, paragraph. And that threw me completely. I almost went into an Ella Fitzgerald sort of scat.

I went to the Guilford School of Music and Drama, which was affiliated with the Royal Shakespeare Company. I was lucky enough to be taught by a beautiful, wonderful teacher called Patsy Rodenberg, who works a lot with the Royal Shakespeare Company as a voice coach and technician.

In about 9th grade, an English teacher told me I had a talent to act. He said I should audition for a performing arts high school, so I did on a whim. I got accepted. Then I got accepted at the Julliard School, and by then, I was serious about it.

I'm not a teacher; I'm not a historian. I'm trying to create a world for my characters.

I gleaned different style ideas over the years. In Southern California, there is a big rockabilly sub-culture. So when I would go to car shows, I would see women dressed like this. I had a teacher in high school that always had her Bette Paige bangs.

I want to be able to look my daughter's teacher in the eye and say, 'Your pension will be there.' I need to know that her pension will match up with a promise we can keep.

Before Juilliard, I was a schoolteacher for a little bit. I taught in a charter school. I was a substitute teacher for kids ages 3 to 6.

I originally got into this because of a five-year-old's begrudgery of his teacher. Mrs. Lawlor cast me as a tree, and I was disgusted. I was sure I had more to offer than that. It was like, 'OK, if you want me to be set dressing, fine, I'll take it on the chin but I'll show you - I'm going to be a big actor some day.'

Muriel, my mother, was my main confidant. She was a teacher of English at Watford grammar school but took a break while my sister Madeleine and I were children. She held court in the kitchen, and we talked about everything.

My first tic was to shake my head violently. I was in karate class, and I was shaking violently. All of a sudden, I just started to notice that the teacher was looking at me, and all the kids were wondering what I was doing. I suddenly felt really strange.

When I was a teacher, teachers would come into my classroom and admire my desk on which lay nothing whatever, whereas theirs were heaped with papers and books.

In high school, my English teacher Celeste McMenamin introduced me to the great novels and Shakespeare and taught me how to write. Essays, poetry, critical analysis. Writing is a skill that was painful then but a love of mine now.

I started the class late. The teacher said I would have to learn as much in half a year that the others learned in a year. I did it.

My high-school a cappella teacher would embarrass me in front of the choir. 'Mavis, you're in the basement. Mavis, you're singing with the boys.' I said, 'Mr. Finch, my voice isn't soprano. I can't sing up there with the girls.' So I just got out of the choir.

Openness is something any teacher strives to instill in his or her students.

There's a film I did called 'Front of the Class', about a teacher who had Tourette's. That was a beautiful blend of drama and comedy. There's some great moments of levity in the script.

I wanted to become a kindergarten teacher like my mother.

I was lucky because my mum was a teacher and showed me how to read and write. But most importantly, she encouraged me to use my imagination.

I think it is most important for a teacher to play the pieces and studies that are being played by the student.

The impending teacher shortage is the most critical education issue we will face in the next decade.

I started writing stories when I was six years old. I was a very shy kid, extremely shy, and I had a fabulous first-grade teacher who told me to write.

I was born in the small town of Gorizia, Italy, on 31 March, 1934. My father was an electrical engineer at the local telephone company and my mother an elementary school teacher.

To me, a lot of what makes a good actor is not what a teacher tells you to do but how you respond when you're on your own.

I think all of us could play the teacher because we all grew up with teachers. It's just kind of this peeking-over-the-shoulder presence that we've all grown up knowing.

I didn't really like reading much before I did 'The Golden Compass'. But then my teacher told me to read it. And I thought, 'Oh God, I'm going to have to read a whole book by myself!' It's not that I couldn't read, it's just that I didn't really like books very much. But the book that she lent me I really enjoyed.