Quotes of All Topics . Occasions . Authors
When I started out, everyone seemed to be adopting these names... Johnny Rotten, Sid Vicious. I wasn't really Rotten or Vicious or Nasty, so I wanted something a bit more funny - yet something that seemed real rock 'n' roll... something that acknowledged my ambition.
I forget what I wore for my first encounter with Mark Zuckerberg. I know it wasn't a suit - that would have seemed out of place in the rigorously casual world of Facebook. I probably wore what I usually wear, a pair of jeans and a Gap T-shirt, maybe my black sneakers.
I was always admiring people who seemed to conduct themselves with ease in the world. Maybe that's a great gift to give your kids if you can do that. Because they can move through the world without neurosis, this anxiety about everything, which our own parents gave us.
When I was younger, I talked to the adults around me that I respected most about how they got where they were, and none of them plotted a course they could have predicted, so it seemed a waste of time to plan too long-term. Since then, I've always gone on my instincts.
I'm one of the most optimistic persons in the world. I always believed that - there's another shot, another chance. In boxing, I never gave up. I kept trying, kept trying. Even when things seemed so dim, I continued to push forward to make something happen in my favor.
In the beginning, New York and I had kind of a love-hate relationship. It seemed so abrasive compared to Europe. But the transformation here in recent years is really something. I don't think I would have seen as much change if I'd lived in any other city in the world.
I recall us selling out L.A.'s 5,000-capacity Gibson Amphitheatre and flying straight to Germany to play a 300-capacity room where we'd only sold 120 tickets. This was when 'City Of Evil' was really taking off in the U.S., but it seemed like Europe was less interested.
I read somewhere that Mitt and I have a 'storybook marriage.' Well, in the storybooks I read, there were never long, long, rainy winter afternoons in a house with five boys screaming at once. And those storybooks never seemed to have chapters called MS or breast cancer.
I never had the idea of moving to Paris and becoming something. I liked the idea of living in Paris because it seemed to have so many parts of life I really enjoyed. The people there seemed to prize literature and art, food and drinking, a more hedonistic way of living.
I'm a latecomer to the environmental issue, which for years seemed to me like an excuse for more government regulation. But I can see that in rich societies, voters are paying less attention to economic issues and more to issues of the spirit, including the environment.
At the beginning of my career, as a boy from Peru in London, suddenly discovering British culture and society, I looked so much at the work of the photographers Cecil Beaton and Norman Parkinson, which seemed to represent a wonderful vanished grandeur of my new country.
I was struck after 9/11 by what seemed the assumption that everyone bereaved by that event was suffering the same thing. I wanted to explore how individual grief is, how complicated, how colored by the complexity of the mourner's relationship with the person who's died.
As a little girl, I didn't dream of being a ballet dancer; I dreamt of being a movie star like Ginger Rogers and dancing with Fred Astaire. I used to watch the Sunday double-bills on TV and Iong to be part of what seemed a perfect Disneyland world. Astaire was a genius.
'Look at Me' started with Rockford, Illinois and New York and the question of how much image culture was changing our inner lives. That's an abstract idea; you don't think that's going to be a rocking work of fiction, but it seemed to fuse in a way that was interesting.
I grew up loving actresses or actors who were very classy but who seemed a little bit mysterious because you couldn't grasp what they're really thinking. I mean, Grace Kelly always looked impossibly glamorous, yet you could always see there was something behind her eyes.
Well I'm a very similar age to Prince Charles. I'm a year older than him. I was at university at the same time as him. I think in the sixties, like all the Royals, he really had very little impact on my life at all and he seemed, if anything a lot older in his attitudes.
Wrought upon at length, you may say, by an enthusiasm and frenzy that could brook no control - I burst the tyrant bands, which held my sex in awe, and clandestinely, or by stealth, grasped an opportunity, which custom and the world seemed to deny, as a natural privilege.
Another night I dreamed I heard heavenly music sounding in my ears, and a flock of sheep was gathering round it. When the music ceased, the sheep leaped for joy, and ran together, shaking their heads; and one shook his head almost off, and seemed to have nothing but ears.
Both French and Latin are involved with nationalistic and religious implications which could not be entirely shaken off, and so, while they seemed for a long time to have solved the international language problem up to a certain point, they did not really do so in spirit.
When I was a kid, I used to play a game called 'Grand Prix Two.' Interlagos was always the first race of the season on that, and I never really got much past the second race. I would always restart the season, so I always seemed to be doing Interlagos - it was a real pain!
I wasn't a troublemaker. I wasn't impertinent. The teachers liked me. But year after year, the comments on my report cards basically came down to a single point, and it was 100% accurate: I seemed to get nothing whatsoever out of all those long hours spent in the classroom.
The acting bug just seemed to stick with me. I loved going to theatre school in college and continued to train in film classes and had been auditioning for T.V. and movie roles since I was in my late teens. My career has been slow and steady, and I kind of like it that way.
If I had taken money from, say, venture capital, they would have wanted a certain return in a certain time period. McDonald's, on the other hand, seemed very interested in my passion about creating this brand. I trusted them, and they did not really interfere with the brand.
'Control' had to do with my own life a lot, and that's why that seemed to be a film I could be the director of, because I had an emotional attachment to the whole story. And because of that experience, I feel that I can try other films. I didn't set out to become a director.
The cultural value of 'Gossip Girl' was this interesting question. Sure, it seemed to have been a worldwide, cultural phenomenon for some time. And, yes, anywhere I go, I do get recognized. At the same time, it also lacked the kind of importance that people might anticipate.
First, I was opposed to gay marriage because it seemed like one more way that gays were wanting to assimilate. When I realized the Christian right was so opposed to it, as well as tyrannical governments in Africa and Russia, I thought, 'It must be a good thing to fight for.'
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
For me in my twenties, working in Hollywood was confusing in that the differences between what was fiction and what was nonfiction seemed to blur in my mind. Everything became a visual memory for me. I carried my Leica camera, giving opportunity to take pictures from my view.
I think the name of the show, 'This American Life' - we named it that just because it seemed like it made the thing feel big. But we don't think about whether it's an American story or not. We happen to be Americans. I think for the stories to work, they have to be universal.
Time, which runs through the world like an endless tinsel thread, seemed to pass through the centre of this room and through the centre of these people and suddenly to pause and petrify, stiff, still and glittering... and the objects in the room drew a little closer together.
I got this idea about being afraid to let go of something and being afraid of sinking into a state of almost anesthesia, where you have to trust other people. Just the paranoia of it all. And it seemed to suit the frenetic track. So I just wrote it out and, you know, said it.
When I started out in the eighties, the idea of creating serious comics for adults was pretty laughable to most folks, and for the longest time it was hard to even explain what alternative comics or graphic novels were. Nobody seemed to understand or care. Not so, any longer.
I was so in love with books from as early as I remember that it seemed a natural step to want to create them. And so I just wanted to be a writer from a very young age. And I think that the lies were just a natural side effect of me wanting to tell stories and write them down.
The more I worked on 'Half Brother,' the more it seemed to me the story was really about love in all its possible forms - how and why we decide to bestow it, or withdraw it; how we decide what is more worthy of being loved, and what is less. We are masters of conditional love.
The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
We thought that the Internet was going to connect us all together. As a young geek in rural Maine, I got excited about the Internet because it seemed that I could be connected to the world. What it's looking like increasingly is that the Web is connecting us back to ourselves.
Westminster Abbey, the Tower, a steeple, one church, and then another, presented themselves to our view; and we could now plainly distinguish the high round chimneys on the tops of the houses, which yet seemed to us to form an innumerable number of smaller spires, or steeples.
When I moved to Brighton from London in 1995, I was struck by what I thought of as its townliness. A town, it seemed to me, was that perfect place to live, neither city nor country, both of which like to think they are light years apart but actually have a great deal in common.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
This image of wanting to be an artist - that I would in some way become an artist -was very strong. I knew for a long, long time that that's what I would be. But nothing I ever did seemed to bring me any nearer to the condition of being an artist. And I didn't know how to do it.
The apostle Paul never seemed to exhaust the topic of grace - what makes us think we can? He just kept coming at it and coming at it from another angle. That's the thing about grace. It's like springtime. You can't put it in a single sentence definition, and you can't exhaust it.
I had written a novel that was more of a classic linear novel, and I worked on it and worked on it for years, and it always seemed like it wouldn't catch fire. At a certain point I just scrapped it all, and I kept maybe 15 percent of it, and I wrote those parts out on note cards.
I liked Yeats! That wild Irishman. I really loved his love of language, his flow. His chaotic ideas seemed to me just the right thing for a poet. Passion! He was always on the right side. He may be wrongheaded, but his heart was always on the right side. He wrote beautiful poetry.
'Brave' is one of those words that has been bleached of most of its meaning these days, thanks to far too many appearances in the glaring light of ad slogans and corporate public relations. I never thought about anything as brave anymore; it just seemed like a flabby, glib cliche.
I was 21 in 1968, so I'm as much a child of the '60s as is possible to be. In those years the subject of religion had really almost disappeared; the idea that religion was going to be a major force in the life of our societies, in the West anyway, would have seemed absurd in 1968.
I went from being a kid-kid, listen to everything from The Beatles through Kiss, Peter Frampton, Jethro Tull classic rock, classic stuff into immediately, it seemed like, Iron Maiden and stuff like that. The first Iron Maiden record and then, obviously, the first Metallica record.
When I was a teenager, I continued to visit imaginary places by spending all my free time at our local community theater. Whether I acted in a play or worked backstage, the world of Tennessee Williams or Shakespeare always seemed more real to me than the dreary life of high school.
For more than three months, I had been president and primary owner of Spellman Investigations, and I can say with complete certainty that I had more power in this office as an underling. My title, it seemed, was purely decorative. I was captain of an unfashionable and sinking ship.
I wanted to be involved with literature. I certainly wasn't going to be able to write for a living, and I didn't have enough confidence in my talent to think that I should be just doing that. Publishing seemed like fun to me - to be involved with writers. And it did turn out to be.
In the summer of 1954, after several years in Austin, Minnesota, our family moved across the state to the small, rural town of Worthington, where my dad became regional manager for a life insurance company. To me, at age 7, Worthington seemed a perfectly splendid spot on the earth.