Quotes of All Topics . Occasions . Authors
I just played at a club in L.A. called the Baked Potato. It fits like 90 people. It's like playing somewhere in a basement in, like, Indiana or somewhere where all your friends show up. It's really fun and there's a very different energy to that than to play to 50,000 at a Tokyo baseball stadium.
I'll be giving a speech at the randomest place, like a bank or something, and a guy in a suit will say, 'I'm totally freaked out that I'm talking to the girl from 'Cremaster.' For the rest of my life, that movie will be playing in a museum somewhere. I never could have expected that huge response.
We have made a commitment to feed 20-million people over the next two years. We are somewhere around 10 million. But I can promise you that we are not going to stop at 20 million. Because hunger, there is almost no cure for it. You can take care of the problem today, but it is a recurring problem.
Lipstick is iconic. It's the one product that marks out an era, and a certain lip colour can define a season. It makes me feel more 'done'. I wear a beige lip in the day, but red when I'm going somewhere - it makes that transition from day to night. I just slick it on; I don't bother with lipliner.
Phoenix is an interesting example. Drive around and see the golf courses everywhere, and you see people's big green lawns. And you live in a desert! I've always remarked about the capacity of human beings to look at somewhere and move there because of its uniqueness and its beauty and then change it.
Every case involving cybercrime that I've been involved in, I've never found a master criminal sitting somewhere in Russia or Hong Kong or Beijing. It always ends up that somebody at the company did something they weren't supposed to do. They read an email, went to a website they weren't supposed to.
My first audition as a little girl was 'Interview with the Vampire' for Kirsten Dunst's part. Back then, they were meeting all different kinds of girls, and I was one of them. There's got to be an audition tape somewhere on VHS. Who would have known that many years later I would be on a vampire show?
The first point to remember is that attempts to clone mice have actually been very unsuccessful for at least a decade. Sheep have been successful. So one asks, 'Where do humans lie?' Most people think they are somewhere between the two, but at least there's a reasonable chance they might be clone-able.
Greece has got something like 1,400 islands. There is so much of Greece you can't know even if you're Greek. It's sprinkled out all around the edge of the Aegean, all over the place. It's already a secret place wherever you go, even if it's somewhere huge like Athens or Corinth. The place enchanted me.
If I were to look back on my work, I think I accomplished probably about 70 to 75 percent of what I could have. Maybe 60 percent. Somewhere in that area; two-thirds of what I could have accomplished. If I had been a really dedicated person, and really worked hard, I think I could have accomplished more.
I would say runway is easier because your job is to look good or play a character that is just going somewhere. It's rather physical, whereas acting is terrifying because you're dealing with your subconscious, and those can be murky waters. But I definitely can say that I enjoy acting more as an artist.
Every demo I do has a mandolin or resonator on it - some element of the bluegrass or classic country world that I grew up listening to and that first drew me in. And then I always try to find somewhere for a bluesy guitar sound, because that's also what I love. Musically, I'm always finding my way home.
I know I always had a lot of energy growing up and I had to put it somewhere. Theater allowed me to really feel things, to laugh, to cry, to explode outward. I could do anything and it was totally accepted and appreciated. If I hadn't gone into the theater, I probably would have been a psychotic killer.
I do have an office where about 70 percent of my writing gets done, but sometimes it does get a bit stir-crazy to be cooped up in there, so I'll grab my laptop and write somewhere else: another room in the house, out on the patio, or even Heaven-forbid, a trip to Starbucks. But I also write on the road.
The only reason you even start a band is so you can hang out with your friends all the time, but somewhere along the line, it just ends up becoming a job. You were doing it because you were like, 'I never want to have to get a job,' then all of a sudden it becomes the biggest job you could ever imagine.
I used to dream of some kind of way that you could carry a phone with you - but I never thought I would see it in my lifetime. It doesn't matter nowadays if you are caught in traffic or got lost on the way somewhere. You can just send a text and the recipient will know that you haven't fallen under a bus.
People with big ideas worry. They lie awake at night and fret as they try to climb up the social or financial ladder. They probably feel proud of themselves for what they've achieved, but I'm proud of the fact that I've done very little - and hence have little to worry about - and I've still got somewhere.
The flop bet is a useful tactic for both old-school and new-school players because it can be effective if you are strong, weak, or somewhere in between. Betting out weak on a bluff can allow you to pick up an uncontested pot while betting out strong gives you the opportunity to control the size of the pot.
I have to feel that I'm going somewhere all the time. By definition, if you have this urge to go places, then you can't be 100 percent happy where you are. It's not like I enjoy being miserable for weeks on end. But I think it's good to be miserable for about one day every third week - that's ideal for me.
It's good to have a foothold in reality, a base somewhere that's always been a base. Sharman Macdonald once said she needs life to write; she can't write if she's just in theatre all the time. I'm the same way, I think. I've always felt that if my life was all about the job, I wouldn't be so good at the job.
I don't listen to the radio, cause I don't have a driver's license. But if I'm in L.A. or somewhere where we have to rent a car, I'll hear my songs. Sometimes I hear them when I'm in stores, and I'm still like a little kid in a candy shop: 'Oh my God, that's my song!' I don't know how that could ever get old.
You can tell if there's magic in something. When you start it, you want to finish it and you want it to be perfect. If you're not inspired, and you're working hard to pull inspiration from somewhere and make a song something it's not, then it's very contrived, and I don't like to write music that's contrived.
One of the things that I tell beginning writers is this: If you describe a landscape, or a cityscape, or a seascape, always be sure to put a human figure somewhere in the scene. Why? Because readers are human beings, mostly interested in human beings. People are humanists. Most of them are humanists, that is.
Somewhere along the line, positive thinking seems to have been confused with magical thinking. There's a notion that if you think positively enough, you can make anything happen by using the power of your mind. All the positive thinking in the world won't deliver good fortune or prevent tragedy from striking.
We all strive for balance, often moving to extremes to find ourselves somewhere in the middle where we can sustainably exist in optimal inspiration. Working toward balance takes a lot of ingredients. We need courage, reflection, attention, action, and a push-and-pull relationship between effort and relaxation.
I want to literally quit drag and go live in the woods somewhere and write music for my favorite female singers, like Miley Cyrus or Kacey Musgraves. I would love to be able to write music for them and hear these women I admire sing my songs. That would be like doing drag without having to get into drag myself.
I loved couriers. You had this transfer of physical information happening throughout the city and the world. Someone picking up the package, putting it in a bag, going somewhere, taking it out of the bag, giving it to someone else. I thought that was so cool. I wanted to map it, to see that flow on a big screen.
When I first moved to L.A., I cleaned apartments after people moved out. When people move, they leave stuff behind and haven't cleaned for weeks. I like to clean - I have no problem with cleaning - but some apartments were filthy and disgusting. And there'd always be a random flip-flop left somewhere on its own.
On so many levels, acting in film and TV is so much the sum of its parts, and somewhere in there, there's an alchemical thing that makes something happen or not - that makes something connect or not. Now, of course you want to make work that people see, but the enjoyment I get out of acting is playing characters.
Some people don't like the 'comeback' because that suggests they went somewhere, which they didn't. That isn't what I mean. In my mind, people were doing well, and then they went right down, and they made a comeback. It's not that they went anywhere. It's that their fortunes went way down, and then they came back.
I never considered myself as somebody in exile because, different to my father who, yes, was in exile because he left Haiti as an adult, for me it was just to be somewhere else. I carried Haiti with me everywhere, but I also carried, you know, my youth in a public school in Brooklyn. It's part of who I am as well.
The booming popularity of alligator hunting, sparked by reality shows like the History Channel's 'Swamp People,' is easy to understand: It's an exotic blast of adrenaline. But there's a culinary upside as well, with gator boasting a delicate light-pink meat that, to me, falls somewhere between veal and wild turkey.
I keep up with James Kochalka's online strip, and if I see a link somewhere or someone tells me about something, I'll look at it, but I don't usually keep up with any sites other than the 'American Elf.' I always have this feeling that there's not enough space in the screen, like everything's always getting cut off.
Room 40 knew a U-boat was heading south to Liverpool - knew the boat's history; knew that it was now somewhere in the North Atlantic under orders to sink troop transports and any other British vessel it encountered; and knew as well that the submarine was armed with enough shells and torpedoes to sink a dozen ships.
When you get up into the crown of a redwood tree, you lose sight of the ground entirely. You also lose sight of the sky. And you're in a lost world. You're in an undiscovered, unexplored ecosystem, somewhere between Heaven and Earth, filled with forms of life, not all of which have been given names by scientists yet.
When I was 17, I went to India for six weeks and had what, at the time, was a very challenging trip. You walk down the street and you see lepers and beggars, and there were several of us, a group of Americans. I remember we were just trying to park one night somewhere and people were just sleeping in the parking lot.
When I turned 50, I asked some of my girlfriends, all actresses of the same age, 'What are we going to do now?' I wanted to go live somewhere for a while, learn archaeology, or take part in healing the world on some level. I wanted to dig deep and say, 'Who am I now? What do I have to offer? What do I have to learn?'
I love L.A. It was an awesome place to spend my 20s, full of creative people, but I never wanted to stay there. It wasn't necessarily Texas that I wanted to move to; I just knew I wanted to live in the country somewhere. My wife and I found this place in Texas that we really liked, so we packed up our stuff and moved.
I was raised as an Orthodox Jew in a major neighborhood specializing in that, in Brooklyn. And somewhere when I was about 14, something changed. And that change probably involved updating every molecule in my body, in that I sort of realized: this is nonsense, there's no God, there's no free will, there is no purpose.
Also, I think having that comic gene kind of makes you look at things in a different way. If you take yourself so seriously, eventually you end up one of those people having a 'Do Not Disturb' sign on their lives. You see them drawing the curtains and they don't even realize that they've kind of drifted off somewhere.
I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
On street corners everywhere, people are looking at their cell phones, and it's easy to dismiss this as some sort of bad trend in human culture. But the truth is life is being lived there. When they smile - right, you've seen people stop - all of a sudden, life is being lived there, somewhere up in that weird, dense network.
In a typical day, I would wake up about 8 A.M., pile all my stuff into my mom's minivan - my guitar, my amp, CDs to sell, a table and a rug - drive it down to the street, and unload it all. I'd wait until about 12, then play for two hours. You could only play in two-hour intervals, so then I would move it all somewhere else.
On 'Sufferer,' I'm talking about the younger generation that has no other option for success than to find a gun somewhere. I try to appeal to them: 'I know you a sufferer, but it doesn't mean that you can't or shouldn't expect any better.' It's a lot different than from what I usually say, like, 'Get busy, shake that thing.'
Censorship is the tool of those who have the need to hide actualities from themselves and from others. Their fear is only their inability to face what is real, and I can't vent any anger against them; I only feel this appalling sadness. Somewhere in their upbringing, they were shielded against the total facts of our existence.
I really believe that the more distractions and fixes I remove from my life, the better I'll feel about myself. The biggest of those is Depeche Mode. It's the one marriage that survived, but I'm not sure it works - for me, anyway. Jumping on a plane to go somewhere else and be told how wonderful I am doesn't feel good any more.
Album sales have collapsed, with few artists making money from albums; touring is more lucrative. But I'm 53 now and won't be able to tour forever, so a logical step is to get into writing film scores. Trouble is, you need to be somewhere which has a big film industry - another reason why I'm thinking about living in California.
In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.
And if the imam and the Muslim leadership in that community is so intent on building bridges, then they should voluntarily move the mosque away from ground zero and move it whether it's uptown or somewhere else, but move it away from that area, the same as the pope directed the Carmelite nuns to move a convent away from Auschwitz.
I work from home a lot. I think I get as much work done at the office as at home, and I'm used to working with people who don't work in the office. I don't really care where they are, even if they're on a banana leaf somewhere. If they deliver their work, I am completely fine. I don't need someone sitting at their desk to produce.