Quotes of All Topics . Occasions . Authors
As a female in metal, I'm going to get ostracized one way or another. So, if I'm going to have people hating me because I'm a female in metal, I might as well get people loving me because I'm a female in metal, too.
I'm not trying to steer people in a direction. I'm just trying to move them. Wherever it takes them, it doesn't matter to me. I just want them to be moved in one way or another, and that's a hard thing to do, I think.
People say a lot of hurtful things, but in a way, the abuse that I endured from my husband prepared me for that. The things I had been told and drilled into my head from him were worse than what anybody could say to me.
I find a way to convince people to come along with me. They want to be persuaded. When I sit in a room with you I'm going to sell you something whether you want it or not. At the end you'll say: 'I'm glad I bought that.'
There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.
Each actor is different and not everyone is looking for the same thing. For instance, I have never worried that people have to think of me in a certain way or have to accept me when I return to screen after a sabbatical.
A spine to my films that's become more evident to me is that many are about the choices people make, and the reverberations of those choices. You go this way, or that way, and either way, there's going to be consequences.
People are so used to reading novels now, they just read a poem straight through to get the meaning. And that's something totally different from the slow way you read something if it's a tune; which to me a poem has to be.
Moving out and living on my own was a big thing, but to be in a different country with different coaches and a different mentality changed me as a person, as a player, the way I think about things and the way I see people.
People suit their star sign. If someone is annoying me over and over, and I know they're a Sagittarius, say, I'm more likely to forgive them. It comes down to my need for structure as a way of finding my bearings with people.
I'm not a big fan of file sharing. I mean, I've done it quite a lot for other people, where they send me the file, I do it and send them back. You don't get any back-and-forth and exchange and feedback when you do it that way.
I feel that David took a risk with me. I have a sense that by starting off in the theatre and going off to do films you are seen to sell out in some way. I don't hold truck with that, but you can't stop people from feeling it.
I think we're all sensitive; everyone has a certain way about themselves that people don't like to let their emotions out too often. I think people tend to suppress them and hold them in, so I think there's a bit of that in me.
Every role affords me something different in the way of understanding, and that's really why you take these roles, not to show that thing that people talk about of showing what you can do - that has nothing to do with anything.
The only thing that's helped me get through some really hard times was just being able to write and express - it's very cathartic for me. I'm hoping that, by writing and performing for other people, it affects them the same way.
My sisters and my mum taught me how to be a woman: the way they carry themselves, the way they talk to people, the way they know how to put their foot down. They're not having any nonsense from no one. I can see traces of that in me.
The craziest thing I've done is cut my hair blonde and short a couple of years ago. And people reached out to me saying, 'Celine, you're one of the most stable things we have in our lives, don't do that. We want you the way you are.'
You say something, things you would rather forget, and then they are out there. It makes me anxious and I don't know why people are interested in me anyway. If I had my way, I would rather exist in a little hole and not speak to anyone.
I think people knew why I was doing what I was doing. They knew I wasn't part of an interest group. And, in a way, by attacking me, the Malaysian establishment identified me as someone who was principled and prepared to stand up to them.
I'm more of a homebody. I'm constantly asked: 'Why don't we see you out?' But that's not what drives me. I prefer to have people over - which I do a lot, because I bought a house that's way too big for me, and four of my friends live there.
I think I've learned a lot just from being in the industry in general, and I never really thought about what to put in my hair to get a perfect beach wave until I started modeling. People will use certain products on me, and I learn that way.
People think I'm just sort of this P. T. Barnum, razzle-dazzle guy. They think I go out of my way to be outlandish and theatrical at the expense of having emotions. They don't get that there's another side to me, and I keep trying to show that other side.
As far as a Latin explosion, I'm sorry, I'm the only Latino who's going to say it, but there is no Latin explosion. I'm sorry. Four or five top box office people do not make it an explosion, and it's disgusting to me that people will perceive it that way.
People ask me what the appeal of 'True Blood' is and I think there are so many answers to that question, but I think that when there is so much excitement for what you do there is no way that that doesn't become palpable and comes shooting out like bullets.
I'm an entertainer first. But I do as a stand up comedian, the way for me to evolve is to make a difference, to make people laugh and learn and do something different. Because there's too many comedians out there just making people laugh. And anybody can do that.
I think a lot of people who maybe know me from one video or come upon me randomly think I'm stuck-up because I'm blonde, or the way I come off, or from something I might have said. But everybody who actually knows me knows that I'm very down-to-earth and super chill.
I have a pretty diverse audience, and that makes me happy - laughter is universal, and I don't differentiate between people at all. Why should I? People are people. There's no reason why one person can't relate to any other person on this planet in some way or another.
Now I have a standard for how I make sure people do not speak to me in a way that I feel uncomfortable with. When I was younger, I didn't have that. I was like, 'Try not to make waves.' I wanted everybody to like me, and so I stifled a lot of the discomfort that I had.
There is certainly a higher percentage of wit in British comedy than in American comedy. What always tickles me is the way in which people try to use their intellect to get themselves out of tricky situations but never quite manage to do so - much to their enormous embarrassment.
You never make all things for all people and can't always pander to the broadest denominator. I keep an eye toward doing the themes that interest me. Do they move me? Interest me? Make me think? When I run across something that is provocative in an unsettling way, it appeals to me.
I still want to see the Knicks do well; I do. I promise I do. That's my team. After all the stuff that happened, people say to me, 'You still like the Knicks?' Well, that's just the way it is. That's what happens when you're a kid. Your team is your team, and everything is die-hard.
There is something exciting when you see people who are very formal talking with each other, and there is a sense that they have chosen to be that way. There is something masked that is more interesting to me than just people who are intent on displaying their uniqueness or whatever.
Growing up people would tell me: 'Yo, you only can do one thing. If you're going to rap, just rap. If you're going to sing, just sing.' It boxed me in. But I just figured out a way to show everything. It's like if you have a job interview, you want to present as many skills as you have.
I don't understand why people don't use improvisation, especially in comedy films, but also, for me, you get more naturalism, and that's why I like the naturalistic performances and strange rhythms and the way that people genuinely interact captured rather than sort of very mannered performances.
At one point I learned transcendental meditation. This was 30-something years ago. It took me back to the way that I naturally was as a child growing up way in the country, rarely seeing people. I was in that state of oneness with creation and it was as if I didn't exist except as a part of everything.
I meet a lot of people who are awkward around me now. I was always embarrassed about that; the more attention I got, the less I wanted it and the more it would manifest in a physical way and I would be hunched over about it. I'm just starting to realise now that it's not my problem, it's somebody else's problem.
I think professionally I admire people and the way they've handled their careers and being in the media. But the people that I used to inspire me and keep me going were my peers in Toronto - I would see the same girls going to audition after audition, and their resilience to do it again, and I found that inspiring.
There are many people who probably don't agree with my acting, and it should be that way: they don't have to agree with me in general. I'm not here to be loved by everybody. I want to be. But I don't think it's humanly possible to be unanimously loved. But I think I've voiced it clearly that I'm not here to be a baby doll.
Definitely, there is a sense in my writing that people now know me in a personal way. And to an extent, that's true because I write about very personal things, and I use the personal often to contextualize some of these sociopolitical issues that we're dealing with. And to an extent, they're right. They know something about me.
If you're a classical actor, every Shakespearean part you play, you then say, 'McKellen did it this way,' and, 'Jacobi did it this way.' There's a whole list of Oliviers and people, whether you play Hamlet or Richard II or Richard III, any of those roles. And I found that a bit when I did 'La Cage.' It didn't bother me one bit.
Think about Kennedy. Think about Carter. Think about Clinton. Think about Obama. They've all been in their forties and from outside Washington, or underdogs in one way or another. I just think that Americans are looking everywhere, saying, 'Hey, show me some authenticity. Show me somebody who's practical. Show me people who run things.'
We made our entrance into Paris. As for honors, we received all that we could possibly imagine; but they, though very well in their way, were not what touched me most. What was really affecting was the tenderness and earnestness of the poor people, who, in spite of the taxes with which they are overwhelmed, were transported with joy at seeing us.