A Quote by Amber Heard

I was working with real artists [in the Rum Diary], and that's difficult to do and very rare, in this industry, ironically. — © Amber Heard
I was working with real artists [in the Rum Diary], and that's difficult to do and very rare, in this industry, ironically.
I read 'The Rum Diary,' and I didn't really like it very much.
People are very uncomfortable when you call actors artists because there are a lot of actors out there that aren't artists - there are a lot of actors that are hired for very specific reasons that are shallow and have to do with sexual currency and what the industry thinks sells. Real actors are artists, they're expressionists.
What happens to a lot of artists in the music industry right now is the following: The music industry is plummeting real fast. So as the industry plummets, what happens is that there is no deals being made.
[The Rum Diary] is a prestigious movie and it's got a great, talented cast, so they wanted to make sure they had the right person for the role, but it was a torturous process. It was painful.
It is very, very, very difficult for an American actor who wants a film career to be open about his sexuality. And even more difficult for a woman if she's lesbian. It`s very distressing to me that that should be the case. The film industry is very old fashioned in California.
In the industry, artists of of color struggle the most. Caucasian artists have really solidified themselves in the industry, and with African Americans now we see directors and producers who vow to only produce work that shines a light on African American artists. But everybody in the middle gets lost.
Yes, there is no doubt that paper is patient and as I don't intend to show this cardboard-covered notebook, bearing the proud name of "diary," to anyone, unless I find a real friend, boy or girl, probably nobody cares. And now I come to the root of the matter, the reason for my starting a diary: it is that I have no such real friend.
I think the States is a huge part of the music industry worldwide. There are so many other artists and music industry people here, so I think to be working my audience here is definitely a go.
Real to Reel is a rare opportunity for new filmmakers to screen their work for industry insiders.
In my early days, fashion was considered a very high risk industry. The failure rate is very high. Trying to get capital and trying to find people who specialize in that industry is very difficult too.
Now I don't drink, and I get up in the morning and I write in my diary, and I can write in my diary for hours if I feel like it. And I'm still sober so I can write the stories that I'm working on, and I can sit at the desk as long as I need to. So that changed a lot, I think.
I always kept a diary - not a diary like, 'Dear Diary, we got up at 5 A.M., and I wore the weird hair again and that white dress! Hi-yeee!' I'd just write.
The real tough thing is working with actors. I'm a designer and used to working with artists, so there is some familiarity with the personalities that come up, but actors are their own animal.
There were nights when he took a deal more rum and water than his head could carry; and then he would sometimes sit and sing his wicked old wild sea-songs, minding nobody... Often I have heard the house shaking with Yo-ho-ho and a bottle and rum, all the neighbours joining in for dear life with the fear of death upon them and each singing louder than the other to avoid remark. Fiften men on the dead man's chest, Yo-ho-ho and a bottle of rum! Drink and the devil have done for the rest. Yo-ho-ho and a bottle of rum!
It's very rare that you get very old jazz lovers and super-young hip-hop lovers at the same exact show, when you think about it. Not many artists can do that.
Most of the artists I know are crazy in one way or another. I think that's why you get into it. You're in pursuit of a certain sort of peace that's very, very, very difficult to come by.
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