A Quote by Anne Sexton
Until I was twenty-eight, I had a kind of buried self who didn't know she could do anything but make white sauce and diaper babies. I didn't know I had any creative depths.
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Like the guy I was dating. White, liberal, educated. I went to meet his family and I think that they probably didn't know they had a problem with it until he walked in with me. And they definitely had issues. Mom had issues with it. Could not, didn't want to see her son. And I don't think she had anything against me. But it was about her son bringing me home. And I felt that for the first time. I was like, 'Wow, that's deep.' It's really simple: I don't fit their picture.
I didn't really know anything about Margot Fonteyn. I'd never really been a ballet child, so I had no idea what an incredibly huge icon she was, not just in terms of a creative icon - she was also a style icon. I had no idea she was up there with Audrey Hepburn and Jackie Onassis in terms of that kind of image.
I had my first French meal and I never got over it. It was just marvelous. We had oysters and a lovely dry white wine. And then we had one of those lovely scalloped dishes and the lovely, creamery buttery sauce. Then we had a roast duck and I don't know what else.
Nora leaves her husband, not-as the stupid critic would have it-because she is tired of her responsibilities or feels the need of woman's rights, but because she has come to know that for eight years she had lived with a stranger and borne him children. Can there be anything more humiliating, more degrading than a life-long proximity between two strangers? No need for the woman to know anything of the man, save his income. As to the knowledge of the woman-what is there to know except that she has a pleasing appearance?
You know, and the fact that Nina Simone had to start playing in clubs and sing because her parents had moved north to support her music education. You know, so she had to sing. She had to make a living 'cause she was supporting her family. So poverty and race put her in this place which, you know, created enormous success, but it's not what her psyche was all about.
I wanted to make sure that my act was family friendly for tonight, but I don't have babies. So I thought that maybe I could pretend that I had babies and that way I could appeal to the people in the audience who have babies and to the people who like to pretend that they have babies.
My mother was very passionate about life and she would do anything for us. And she had to fight alone to raise us. We never had a lot of money for extras or anything. She had to work six days a week, and then she would do breakfast, lunch and dinner. She was a super-woman! For me, I don't know how she did it with three kids.
When you're a person of color in white America, you know white people. You know why you know white people? Because you can't enjoy any kind of entertainment if you are not able to humanize white people. If you watch a film and are like, "Oh, this has white people in it? Then I'm not interested," then you can't enjoy anything in America!
At the end, the realization is that she had to get to a place in her life where she could drop her guard and make peace with the fact that whether she had a small amount of time, that she had to kind of live it completely through, instead of living by the rules.
I got into film school. I went and didn't know anything about it. Over the course of two years, I kind of got kind of good at it. You know, I had a brief moment where I wasn't sure if I could do it. I didn't know you needed light to expose film.
My personality is more like my mother's. She was fiery. She had more of a temper. I always thought she had enough determination that she could do anything. She could fix anything. I think all children need that feeling from their parents.
She thought of the hardness and the coldness she had cultivated over those years and wondered if they were the mask she wore or if the mask had become her self. If the longing inside her for kindness, for warmth, for compassion, was the last seed of hope for her, she didn't know how to nurture it or if it could live.
I know the M-word makes you nervous, but yeah. I'm talking about the big, permanent friendship. A little different from what Joe and Charles had, though. See, I want to be the kind of best friends who make love every night, who share all their darkest secrets and favorite jokes, and maybe even someday make babies together. I know that kind of friendship requires hard work, but you know, I'm pretty good at hard work. ~ Tom Paoletti, "The Unsung Hero
I think about the period of, like, the '70s and early '80s where nobody had money to make big movies and there was no CGI or anything like that and people had to get super creative. And then, you know, when you've got somebody who can paint you any picture on a computer and you get hundreds of millions of dollars to make a movie, its almost like the creativity diminishes somewhat.
I saw an early cut of 'The Disaster Artist,' and I thought it was inspiring in a lot of ways, and it made me realize it had been so long since I had tried to make a film or to try to - you know, the book was obviously my first kind of big creative pursuit I had control over.
When Nicki was putting out mixtapes, she was the only female rapper that had any kind of buzz. And not to mention that she was on the track with the guys, you know? So you had the girls playing it, and you had the hood guys playing it, too, so you couldn't run away from Nicki.
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