A Quote by Amanda Seyfried
It's nice to finally be thought of as sexy. I'm very disconnected from the sensual side of me, I know it's in me, but it doesn't really reveal itself very often in my personal life, which I do find problematic.
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Often, everywhere we look, we seem to find obstacles and facades and smokescreens, so it was really nice to find things in the world that actually spoke to me. And I felt like Eastern thought really spoke to me. Because it isn't trying to cover up the pain in life; it's trying to deal with it and overcome it in an intelligent way. I think the reason I love Eastern thought so much, and mysticism in general - but especially Buddhism - is because it seems to me an attempt to look life squarely in the face, as it is.
Sometimes people will approach me on the street and ask me very personal questions about my dating life. Fans talk to me like they know me, and it's like, 'You don't know me. You know my character, but you really don't know me.'
It's a very sweet and often problematic situation where people feel like they know me and they're concerned for me. It creates these strange little intimate moments.
The fact that anyone would find me sexy is very, very flattering, but ridiculous. I so don't believe it. But I'm flattered. Truth is, I don't lift a finger to look sexy. Ever.
I love a man who knows how to walk. I do like a gentleman, a man who opens the door and a man who walks on the proper side of the street with you. There’s something safe about it; he’s protecting you. That’s a really nice quality. You don’t see it as often anymore. I pay attention to those things. I know it sounds silly, but I love that. I’m fortunate to say that I have a good guy. Oh, and he has to have great hands. There’s a lot I find sexy in a man, but strong, manly hands are very important.
I don't let a poem go into the world unless I feel that I've transformed the experience in some way. Even poems I've written in the past that appear very personal often are fictions of the personal, which nevertheless reveal concerns of mine. I've always thought of my first-person speaker as an amalgam of selves, maybe of other people's experiences as well.
And the fear of not being is born in that space. But in meditation, when this is understood, the mind can enter into a dimension of space where action is inaction. We do not know what love is, for in the space made by thought around itself as the me, love is the conflict of the me and the not-me. This conflict, this torture, is not love. Thought is the very denial of love, and it cannot enter into that space where the me is not. In that space is the benediction which man seeks and cannot find. He seeks it within the frontiers of thought, and thought destroys the ecstasy of this benediction.
When you start putting pen to paper, you see a side of your personal truth that doesn't otherwise reveal itself in conversation or thought.
I'm both kinds of a person; I have a side of me that's very light and very optimistic and finds everything surreal and hilarious, and then I have a side of me that's - I don't know what the right word is - tormented or just feels very overwhelmed.
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.
There is another side to me which people don't often see, but it's very hard for me to show that. When I do interviews, I'm talking to people I don't know and when you speak to a stranger you don't open up, do you? In my position, people are always looking for something to say about me. And anything I do say, given half-a-chance they'll turn it round into something spectacular so I've got to be very careful. That's why it's only my friends and family who know the real me. Now my wife, Lainya, she could tell you a few stories.
I find the whole concept of being 'SEXY' embarrassing and confusing. If I do an interview with photographs people desperately want to change me- dye my hair blonder, pluck my eyebrows. Then there's the choice of clothes. I know everyone wants a picture of me in a mini skirt, BUT THATS NOT ME. I feel uncomfortable. I'd never go out in a mini skirt. Personally, I don't actually think it's even that sexy. Whats sexy about saying, 'I'm here with my boobs out and a short skirt, have a look at everything I've got?' My idea of sexy is that less is more. The LESS you reveal the MORE people can wonder.
I never thought of Kim Basinger in terms of age. For me she embodies woman with her subtleties and intricacies. She's sensual and intellectually engaging, elegant with a very strong personal style.
There's my personal life, my sensitive side, and then me as a performer, sexy and energised and fun.
I have this internal cultural struggle where there's a side of me that is very Brazilian that misses the food and culture, and a side of me that's very American that really loves the structure and predictability here.
It's a shock for me to go through and see all those years of painting my life, which is very personal for me. It's a very difficult thing for an artist to look back at his work.
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