A Quote by Sonia Braga

I live in New York, and Clara lives in Recife. The character is Brazilian, and as I read the script, I felt like Kleber [Mendonca] had been spying on me in order to create this role [in Aquarius]. Clara and I have different backgrounds. I come from an intuitive world, and she's an academic, but when we got together, we really became one. There are many times when I'm watching the film where Clara will say something, and I will find myself agreeing with her. It was the first time that I had this weird sensation that the character I played is so me, but yet it's so her.
I just realized the other day that Clara [in Aquarius] and I are now going to be apart year by year. She's still 65, and I'm 66 now. When you make a movie, it preserves you at a certain age, and it's so wonderful that Clara has preserved me at 65. People are talking about her age in a way that is positive and respectful, which is so wonderful.
The name 'Clara' is significant in my life. When I was an adolescent and started thinking about my place in the world as an adult and growing up, I knew I would have an eventually new outlook on things and eventually meet someone and have a kid. In my mind, I was like, 'If I have a daughter, I want to name her Clara.'
I think the relationship [in Aquarius] with her nephew shows that she's not nostalgic. She just wants to preserve what is important to her - her records, her books, even some furniture. She doesn't want to leave that house because it is her home. That is where her kids were born. After moving so much in my life, I was touched by Clara's need to stay in that apartment. I love her life, and that may be why I connected to her so strongly. We are the most alike when we are fighting for our rights.
I just hope the film [Aquarius] doesn't feel overly nostalgic because too much nostalgia for me leads to depression. I think Clara is very pragmatic.
The hardest role that I've ever tried to play was Clara Johnson in 'Light in the Piazza' at Lincoln Center. It was the least fun I've ever had, but the most beautiful experience I've ever had. I could not understand her. I could not put my feet in her shoes. I came home every night, and I was depressed.
The [character] that I was able to crawl into the most was Lilo from Lilo & Stitch. This was sort of a cartoony-looking girl, but her problems were completely real. Her funky world that she createdI mean, you know kids like that. It was very honest and genuine and I wanted to do an honest job, so I thought about the character a lot before I animated it. I really got into the character, where [I] almost felt that pain that she had. The loss of the parents - you need to feel all that. That was a big learning experience for me.
I usually played out and out heavies. No one else 'saw' me in any other role. No one else had ever believed I could be anything but a heavy. It was a heavy in a picture with Clara Kimball Young that June Mathis saw me and decided to cast me as Julio. 'There is the man for Julio,' she said, 'He, and no one other.'
Claire Hodgson, born Clara Mae Merritt, was the daughter of a prominent Georgia attorney who had once represented Ty Cobb. She was still a teenager when she married Frank Hodgson, a gentleman caller nearly twice her age.
I was the first person that had been so kind to Iman Abdulmajid. As time went on, and she became successful, signed with an agency, when she had to make big decisions, she wouldn't always talk to an agent, she'd ask me. I'd give her good advice and she'd be on her way. When I had ideas to do things like the Black Girls Coalition, I would always talk to her, she always loved my ideas. She trusts me.
At that moment a very good thing was happening to her. Four good things had happened to her, in fact, since she came to Misselthwaite Manor. She had felt as if she had understood a robin and that he had understood her; she had run in the wind until her blood had grown warm; she had been healthily hungry for the first time in her life; and she had found out what it was to be sorry for someone.
For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiancé,' why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too.
I wanted to be a success on the stage, the screen, or the radio. So I saved my money and when I had bus fare and $16.82 over, I told my mother, Clara, I was going to leave home. She was heartbroken, but she believed in me.
O'er the rugged mountain's brow Clara threw the twins she nursed, And remarked,'I wonder now Which will reach the bottom first?
Will only looked at her. There had been light in his eyes on the stairs, as he'd locked the door, when he'd kissed her--a brilliant, joyous light. And it was going now, fading like the last breath of someone dying. She thought of Nate, bleeding to death in her arms. She had been powerless then, to help him. As she was now. She felt as if she were watching the life bleed out of Will Herondale, and there was nothing she could do to stop it.
Amitabh Bachchan played the role I was supposed to play in 'Saat Hindustani' but I cannot say he got his first film because of me. He had already been cast in the film, but was playing a different role.
Dena had always been a loner. She did not feel connected to anything. Or anybody. She felt as if everybody else had come into the world with a set of instructions about how to live and someone had forgotten to give them to her. She had no clue what she was supposed to feel, so she had spent her life faking at being a human being, with no idea how other people felt. What was it like to really love someone? To really fit in or belong somewhere? She was quick, and a good mimic, so she learned at an early age to give the impression of a normal, happy girl, but inside she had always been lonely.
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