A Quote by Anne Parillaud

On the surface I look fragile and insecure; you have to know me very well. — © Anne Parillaud
On the surface I look fragile and insecure; you have to know me very well.
I cover my shyness by being exactly the opposite. You know, really loud and very Italian. I am an extremely insecure and fragile person, and only the people that really know me know that. But I push myself.
I found that gloss paint suited me entirely, and its qualities still intrigue me. It's viscous and fluid and feels like a pool. It's highly reflective, which means there are layers of looking. You look at the picture, and you look at the surface, then you look at the reflection in the surface behind you, then you look at yourself.
You never know what lurks just beneath the surface of my fragile sanity.
Did you really think I was too fragile to know what Deryn was?" "Fragile?" Volger looked about. "I hadn't thought so, but now I find you brooding in a bathroom. This doesn't speak well of your sturdiness.
I got hit in the face with a gun. I'm not very fragile at all. It makes me think maybe things would be easier if I were terribly frail and fragile somehow.
I tend to look very different with every role that I do, so I don't know if anybody remembers me or recognizes me at all, including people that I've worked with and know really well.
I didn't look very sensitive and they didn't know me very well.
When you're an insecure teenager, you build walls and defenses and masks, and those are incredibly satisfying to perform and chip away at. I mean, when I was an insecure teenager, you'd have had no idea what I was insecure about because I hid it so well. Only confident people are comfortable wearing their vulnerabilities on their sleeve.
At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a Willem de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas." At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas."
It's only normal for me to work with my family because I think they are talented and because there's a warmth when I'm working. As a filmmaker, sometimes you are very fragile. You are in a very fragile situation most of the time. I think it's important to be surrounded by people you just get along with.
[Wearing padding to make my breasts look larger for a movie] was great, but it also made me think, you know, a lot of women who go out and get implants, what's so insecure about them that they would rather have someone look there than in their eyes?
When we speak the word 'life,' it must be understood we are not referring to life as we know it from its surface of fact, but to that fragile, fluctuating center which forms never reach.
We live in a very insecure world with a very insecure communications platform.
Sport has taught me never to be jealous of someone or insecure if somebody is doing well. It's taught me teamwork and the value of patience. Even If I lose, I know that I've actually not lost.
You say the character [of Leo Bloom] was meek and insecure, and you could've been describing me as well. I was a very shy person in those days, and working with Zero [Mostel], who was bigger than life, helped me grow. Zero was a strong influence on me.
I loved the idea that I had an alter-ego but that my true identity was very well known and very much on the surface. I was the only one who didn't know who Stardust really was. So it was very much tied to comics - everything I've done. I did a whole run where I'd wear a face mask when I was on SmackDown, and that was based on Dr. Doom.
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