A Quote by Stacy Schiff

The interesting thing about Cleopatra is that she is such a shape-shifter. I mean through history we've all molded her to our times and our places. So there's room for a movie for her, but I don't think it will hew to the book.
Our mother always taught us to be in control of our voice and our bodies and our work, and she showed us that through her example. If she conjured up an idea, there was not one element of that idea that she was not going to have her hand in. She was not going to hand that over to someone. And I think it's been an interesting thing to navigate, especially watching you do the same in all aspects of your work: Society labels that a control freak, an obsessive woman, or someone who has an inability to trust her team or to empower other people to do the work, which is completely untrue.
If you remove the English Army tomorrow and hoist the green flag over Dublin Castle., unless you set about the organization of the Socialist Republic your efforts will be in vain. England will still rule you. She would rule you through her capitalists, through her landlords, through her financiers, through the whole array of commercial and individualist institutions she has planted in this country and watered with the tears of our mothers and the blood of our martyrs
I think it's a lot more interesting to watch a character go through a transition in a movie. You love her and then you almost want to not like her because she gets mean and gets 'lost' and everything.
When you’re married to Miranda Lambert, you've gotta give her her room because she’s a powerful force. I think it’s more about just listening and understanding who she is and what her insecurities may be and how to approach our marriage as an open minded listener and a shoulder to lean on.
There was Layla in the fullness of her lips, Lulu in the thick waves of her hair, Lu Xin in the intensity of her hazel eyes, Lucia in their twinkle. She was not alone. Maybe she never would be alone again. There, in the mirror, was every incarnation of Lucinda staring back at her and wondering, "What is to become of us? What about our history, and our love?
Think about the number of times someone will say to herself, "I want to get out of this circumstance, but I'm too afraid. I'll lie about how happy I am in this marriage, and I'll put up a front." But she's betraying everything that's in her heart. She's making choices that are harming her, and that's why she's hurting. Her intuition is trying to tell her that.
She made a sound of regret. ‘We come second, you and I, Luc-ien,’ she said. ‘Our allegiance is always to our kingdoms. Without that allegiance, our people would fall.’ She placed her head back against his chest and he felt her tears. ‘This is not our time.’ ‘But that will never mean I love you less,’ he said.
I will write a book one day about how I feel about every aspect of Emily Stone. She's a full genius. She has found her genius and is giving it all so fully and beautifully. I think everyone who works with her, brushes shoulders with her, or even makes eye contact with her, gets a shot of sunshine.
When I looked at her, she appeared to be a different person from the one I'd known... She had rewritten everything, our history together, our friendship. Now I was the girl who'd stolen Andres; the girl who'd lied to her about who I was. Therefore, she owned me nothing.
Love your material. Nothing frightens the inner critic more than the writer who loves her work. The writer who is enamored of her material forgets all about censoring herself. She doesn't stop to wonder if her book is any good, or who will publish it, or what people will think. She writes in a trance, losing track of time, hearing only her characters in her head.
My mother lived her life through movies and books - she read everything there was to read. And she read to me every night. I never went to sleep without her reading to me. And she fantasized about the book and she would talk about it, the place, and you would think that after she read the book and after she told you stories about it, that she had actually been there. I learned about story from her, and I learned the value of a great story, and the value of great characters.
It's interesting to talk to my mom about her character in Wild at heart, because she sees her as a mother who's just trying to protect her baby from a bad boy. I think that's why it works so beautifully - she has conviction about what she's doing.
The most adorable thing about Toronto is that she remains fiercely aloof and indifferent to the fads and entrepreneurial fevers of her lovers. She is intractably herself, admissive to the most vagrant, sober in a way that gets misinterpreted as stodginess. Her generosity extends to the meek as well as the gold diggers. Mercifully, she doesn't give a hoot about our portraits of her, but just waits, patiently, for our affection and citizenship.
No, books. She would have maybe twenty going at a time, lying all over our house--on the kitchen table, by her bed, the bathroom, our car, her bags, a little stack at the edge of each stair. And she'd use anything she could find for a bookmark. My missing sock, an apple core, her reading glasses, another book, a fork.
What is Mona Lisa thinking? Nothing, of course. Her blankness is her menace and our fear. [...] Walter Pater is to call her a 'vampire,' coasting through history on her secret tasks.
I missed the sound of her shuffling her homework while I listened to music on her bed. I missed the cold of her feet against my legs when she climbed into bed. I missed the shape of her shadow where it fell across the page of my book. I missed the smell of her hair and the sound of her breath and my Rilke on her nightstand and her wet towel thrown over the back of her desk chair. It felt like I should be sated after having a whole day with her, but it just made me miss her more.
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