Quotes of All Topics . Occasions . Authors
There are a lot of directors I'd still love to work with. Paul Thomas Anderson is someone I'd love to work with. I think Alejandro Gonzalez Inarritu is very talented. Ang Lee is very talented. I mean, there are a lot of people. There are many great directors out there.
I like streaming music. I'll be in the car going, 'I want to hear Scotty Anderson.' He's a great guitar player not many people know about - maybe me and two other dudes know him. But I love him, and I can pull him up on Apple Music, and there it is, right there in my car.
Tamir Rice, Tanisha Anderson, Mya Hall, Walter Scott, Sandra Bland - these names are important. They're inherently important, and the space that #BlackLivesMatter held and continues to hold helped propel the conversation around the state-sanctioned violence they experienced.
There really isn't a dream role, but there's a dream situation where I could work with a director that I idolize. So, the idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
Besides kind of like the Wes Anderson, or, of course, a lot of the European movies, most everybody in the States, the big studios, make pretty much the same film. And we're kind of held to Pixar standards, or Disney standards, as it's kind of always been in the animation industry.
There's a lot of trainers in my career, between Terry Taylor and Arn Anderson, who've always told me to keep my damn feet on the ring mat, and there's just that little kid in me - I may be 45, but there's that little kid in me that, if I get a chance to do some flying, I'm gonna do it.
What's nice about a lot of Wes Anderson's films is that there's a patience to it. I think that patience brings out a lot more funny things that you would miss otherwise if you just had to make quick cuts and keep the pace, whatever that pace is that bigger budget comedies have to have.
Someone said Anderson Silva and GSP would be a $12 million fight. I told people that for $12 million, I'd fight them both right now. At the same time. People took that as 'He's going to fight again.' It was a joke. But if you came up with $12 million, yeah, of course I will fight again.
I've noticed, as a comedy fan, that I really like Paul Thomas Anderson or Quentin Tarantino because when they're funny, they're actually funny. It's not like when other dramatic writers have comedy, and I'm just like, 'Well, that's not funny. Why are you even trying to make a joke here?'
Being on a Paul Thomas Anderson film, the best decision an actor can make is to listen to Paul Thomas Anderson. Because he's probably not going to steer anyone in the wrong direction. I would always say go with your gut on any other movie set, but with Paul, I would say go with Paul's gut.
I think I saw 'Rushmore' my senior year in high school. You know, Wes Anderson and Owen Wilson, there's such a voice to those movies. It's not like 'Die Hard' where it's like, 'Oh, this is an adventure. It just happened.' It's like you can hear the voice. I was like, 'Oh, I want to do that.'
In order to make Alma innocent and open, I had to forget that I'm stressed as an actress because I'm making a film with Paul Thomas Anderson. I had to let go of everything and hold onto the text. The language was like a rope I could cling onto and make my way blindfolded through the shooting.
I'm from Anderson, S.C., but I grew up in the South. So I know what it is to ride to school and have Confederate flags flying from trucks in front of me and behind me, to see a parking lot full of people with Confederate flags and know what that means. I've been stopped by police for no reason.
Even when he transposes Roald Dahl's 'Fantastic Mr. Fox,' he injects so much of his own personality and his own world that it becomes a Wes Anderson story, and you forget that Roald Dahl is behind the story. That's the proof of great directors to be able to digest and recreate sometimes a classic.
I dream of working with iconic directors such as Tim Burton, Baz Luhrmann, Terry Gilliam and Wes Anderson - so I'm setting my sights pretty high! My perfect role would be in a fairy-tale period piece, and I'm quite upset all the Harry Potter movies have been made as I'd love to have been in those.
There was a match in Alaska that I had with Beth Phoenix at a house show where we had a standing ovation from Ric Flair, Triple H, John Cena, and Arn Anderson. I got to work with her so much that we knew each other's body language. Got a standing ovation from the entire locker room. It was amazing.
My taste comes from when I was 12 years old and saw Genesis or Laurie Anderson or some performance artist who had put paint on himself. I've seen a lot of theater, but that's not what woke up my taste to become a director; nontheatrical things were much more theatrical than the theater I was seeing.
I grew up in St. Louis in a tiny house full of large music - Mahalia Jackson and Marian Anderson singing majestically on the stereo, my German-American mother fingering 'The Lost Chord' on the piano as golden light sank through trees, my Palestinian father trilling in Arabic in the shower each dawn.
If Katie Couric or Anderson Cooper asked me to come on to their shows and give them content every single day, I would do it because that gives me access to a huge population of people that I can hopefully, in some way, plant seeds in fertile soil, and those seeds would grow into oak trees of freedom.
My favorite Wes Anderson movie is 'The Darjeeling Limited,' because I have two other brothers, and I just feel that connection so well. All of his films have something so great and unique about them, that I don't know how I would be if I don't like them. I wouldn't be me. My personality is his sensibility.
If you're on TV regularly, doing a thing regularly, whether you're Anthony Anderson on 'Black-ish' or Don Lemon, an hour a night, you have to turn into, 'What's the delivery system through which I can deliver information?' I don't mean they are being fake or that they are doing something that's disingenuous.
What batsmen like me do for fitness is often a bit different to what bowlers like Jimmy Anderson or Stuart Broad do but everyone in the squad has a big focus on core strength. It is really important for batting, bowling and fielding. You need a strong core and spine so your movement isn't restricted out there.
I love the fact that James Ivory made films about Britain, made 'Howards End' and 'The Remains of the Day,' or that Paul Thomas Anderson made 'Phantom Thread.' They're about Britishness, but they're from an American perspective. And I actually think they're fantastic in the way that they understand Britishness.
Sports-entertainment has provided me with many blessings, but nothing was ever more unpredictable and fun than hanging with Ric Flair, Barry Windham, Arn Anderson and Tully Blanchard, who, in my opinion, are the greatest incarnation of The Four Horsemen and the most important faction to ever step into the ring.
Demian Maia, he's a legend. He's a veteran in the game. He knows how to fight. He's been through so many five-round fights. He's headlined a lot of cards, fought Anderson Silva for the title, fought Tyron Woodley for the title. He's a veteran, he knows how to fight, and he's always training. He's a jiu-jitsu wizard.
To be a director, you have to think you're the best. Ever since I went to film school, I imagined that you have to think deep down that you want to be Martin Scorsese or you want to be P.T. Anderson. Like, am I as good as those guys? Absolutely not. I feel like I keep learning, and I feel like I keep getting better.
I say over and over again that I am just standing on the shoulders of so many who have set this path for me, and they may not be seen or recognized or have been given an opportunity to have a voice, but I'm here representing all of those dancers. Dance Theatre of Harlem Virginia Johnson, Tai Jimenez, Lauren Anderson.
Robert de Niro has always been fascinating to me. And if John Cazale were still alive, that would be a man I'd love to work with. I'm a big fan of Paul Thomas Anderson's films - I would be honored to work with him. I think he's a brilliant director, and he gets such compelling stories out of his actors and out of his crew.
Where I grew up in St. Louis, Saturday was country music day on television. We'd watch the Bill Anderson show, the Willie Nelson show, the Dolly Parton and Porter Wagoner show, and always the Grand Ole Opry. My parents were fans of that music, and my friend's parents would pull the TV out and watch those shows on the porch.
Nobody breaks in a fight and comes back in the same fight. Once you break, you're done for the night. You've gotta go back. You've gotta shower up. You've gotta fly home. You've got to reassess, take three or four months, and try it again. But that Anderson Silva breaks in that fight, and still finds a way to win, is remarkable.
I've fought all these top Brazilians. They're all supporting their people, Anderson Silva, they're supporting him. Lyoto Machida, they're all supporting him. I didn't have the full support of America. Not everyone American was rooting for me because I'm from America. If they were rooting for me, it's because they were a fan of me.
Wes Anderson is a perfectionist, so you have to just be ready to try it this way, try it this way, try it that way, and then try it this way. And then, once you think you've got it all and it's done, then you're going to be called back in two or three months so you can try it that way and try it this way. You've got to give him all of it.
At LVMH, we have amazing heritage brands, and we put interesting talents in those brands, sometimes very young, like we did at Givenchy with Riccardo Tisci at the time, or like we just did with J.W. Anderson at Loewe, but also talents that are already further along in their careers, like Raf Simons at Christian Dior or Nicolas at Vuitton.
