Quotes of All Topics . Occasions . Authors
I think that luxury is to be used when you are in your jeans and your T-shirt and you want to feel a little extra special, and you want to go and walk into a store and have somebody go, "Wow, what is that?" Maybe that's the one and only thing you give yourself that day, but I think women like to give that to themselves.
I was pretty much a mess out of primary school. I really experienced a lot more of that stuff from the ages of seven to twelve, where there was a really popular girl at my school, and I was obsessed with her, like you'd go to jail for that stuff today. I'm so embarrassed to say this, but I was in tears one day, because I couldn't sit next to her.
People need to understand that what happens in people's homes and behind closed doors, unless you were there, you really shouldn't make any analogy or any assumption, which writers do quite a bit. It's not something I ever for one second thought about. This is not my life story, and I've never told my life story, and I have no interest in telling my life story.
The fabric of my life is under my skin; [but] it's definitely not something that comes up in a conscious way when I read material. I have an incredible relationship with my mom, so I'm fascinated by mothers who do not have that. But I've never done anything that resembled my life. People always jump to that conclusion, and I wish life were that simple, but it's not.
've had good friends who got married after they've been together for years and they've said that it was the "next step" for them. Or, they've said, "You just can't bail out anymore." And I've wondered, What made you think you could just bail out before [the wedding]? You don't invest that kind of time and energy with somebody and then just go, "All right, see you later."
I do have a sense of fear every day going to work, but I think it's something that I like. I mean I do like the feeling of waking up on my own, having this moment of like: "Oh, f**k, I hope I can do this today!" Because it makes you realise that you're working with material or you're working with a director or you're working with a cast and they're keeping you on your toes.
A while back there was this fad where a big star [would get] a producing credit and you'd ask around, and people were like, "No, they didn't produce, they just took the credit." I was flabbergasted. So when I started, people were weirded out by the fact that I was like, "How long is our prep? I'll come a week before that." They were like, "We're not shooting for six weeks."
Think bigger than society lets you think. And find mentors. My life is filled with people who knew me when I was 19 and had a horrible South African accent and bleach-blond hair and who believed in me in a way that was brutal. They were just unbelievable and consistent and smart. Find mentors who, every time you're with them, you're being schooled. Just absolutely schooled.
It [Hancock] happens to be a big budget film and big star like Will Smith, but it actually has a lot of weight to it. But it was very smart and very intelligent and had this kind of historical element to it that I was fascinated by. It's not silly. It's not stupid. It's fun, but I think it's smart. I think Akiva [Goldsman] writes really interesting material and there you have it.
Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.
It's ironic that we've built the beauty world around 20-year-olds, when they have no f - kin' concept about wisdom, what life is about, having a few relationships below [their] belt and feeling hardships, to grow into [their] skin and feel confident within [themselves] and to feel the value of who [they] are, not because of a man or because of something like that. And I think that's such a beautiful thing.
I can't live in a bubble and expect to come and work with Dior or go work on a movie and not have some kind of an evolution within myself and my own thought process and a passion about things or what's happening in the world. All of those things are the elements that make you who you are, and those are the things that sincerely come across in a photo or a commercial or in an interview. That's a constant thing for me.
I was raised in a country [South Africa] with a lot of political turmoil. I was part of a culture and a generation that suppressed people and lived under apartheid regimes. I don't know how you can come out of that and not have an awareness for the world. I think that if my life had turned out any other way and I was working in a bank, I would still feel this way about it, because there's a connection to humanity that to me is really important.
Remember I came to Albuquerque to do a hair and makeup test and wardrobe fitting; you guys were already shooting. It's tough when the movie's already started and you kind of show up. You're the new kid on the block. I walked onto the set and Tommy [Lee Jones] was about to do the scene. I just kind of walked up to him. I was shaking, but I just gave him this big hug and he just had nothing to say. He was like, 'Gotta go to work now.' I had a great time working with him."
When I'm naked, I really like to do push-ups. No. I think I really tackle it like everything else. If you're going to commit yourself to playing something, you have to be able to understand it. If you can understand it, then you can do it and go balls out with it. But, I've never been in a position where I've been like, "This doesn't feel right." I wouldn't do it, if it was that. I like the shock value of it. I think that, if you use it correctly, it's pretty effective, as long as I'm lit really, really, really well.