A Quote by Brie Larson

Maybe you're not perfect, but you're willing to actually look at yourself and take some kind of accountability. That's a change. It might not mean that you can turn everything around, but I think there's something incredibly hopeful about that.
I actually take images of things and put them up around the wall and in a room. I set a room aside. It might be colors, it might be animals, or energy and words. And I'll just leave it there, so it begins to work on my subconscious when I think about the character. Which gives me some latitude to be really flexible and spontaneous but within the context of the character and the world of the character without having to think about it. Or I'll look at something or read something and let it work on my subconscious mind.
I think that's kind of the perfect mix, where you do something that you're not sure about, you feel like you're taking a risk, and then you turn around and look at the artists that you're collaborating with and you can read the expression on their face if they like it or they hate it.
Look around at things that just aren't getting done. Maybe there's a project you could tackle. Maybe there's an issue that always gets back-burnered for other priorities. Challenge yourself to take on those difficult assignments. They're learning opportunities, and you have a chance to change something for the better.
I always try to write about something that's actually happened or it doesn't always have to have happened to me, but it has to have happened at some point. So every single lyric that you hear comes from some kind of story that I've come across in my life. I like to think that that maybe helps me mean it a bit more and if you don't mean it, it ceases to be soul music.
As a consequence, I think of the idea of 'common practice' at any time as something that can only be seen by looking backwards. Maybe around the turn of the 20th century there might have been some kind of common practice but now it looks to me like the boundaries have come down.
Life is sinister. I don't know if I am representing life exactly, but sinister, I think it has to do with dreams. You're dreaming when you're awake: you're sitting on the subway and you look around, and you can think of sinister things that are kind of delightful to think of because they're not really happening, but they are in your mind. They're about wishes, desires - sexy, dangerous, hopeful, the way it could be, maybe.
I think that some of it is electoral - helping candidates that are willing to take dramatic actions, not just to say a few words about how climate change might be a problem.
When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.
When you stand in your own authority, based in your own direct experience, you meet that ultimate mystery that you are. Even though it may be at first unsettling to look into your own no-thingness, you do it anyway. Why? Because you no longer want to suffer. Because you're willing to be disturbed. You're willing to be amazed. You're willing to be surprised. You're willing to realize that maybe everything you've ever thought about yourself really isn't true.
When you look at Steven Meisel's pictures and you see girls rolling around in mud or cars are blowing up? It takes a tremendous amount of courage to be able to do that. I think you have to be malleable, and that's what makes a truly great model. It's not the perfect lip or the perfect face, it's your own ability to take on a character and that's, I think, something there's a misconception about.
One of the most important things that I did to turn my life around was to realize and to accept that from this minute, that's all we have. Everything that happened behind us we cannot change so you might as well look to the future.
I always seem to feel that everything is about to cave in on me. I think that maybe music is my protection from that and in some senses it's an outlet to turn it into something euphoric: embracing the eventual decline.
I guess what I'm trying to say is I don't think you can measure life in terms of years. I think longevity doesn't necessarily have anything to do with happiness. I mean happiness comes from facing challenges and going out on a limb and taking risks. If you're not willing to take a risk for something you really care about, you might as well be dead.
Sometimes they threaten you with something - something you can't stand up to, can't even think about. And then you say, Don't do it to me, do it to somebody else, do it to So-and-so. And perhaps you might pretend, afterwards, that it was only a trick and that you just said it to make them stop and didn't mean it. But that isn't true. At the time when it happens you do mean it. You think there's no other way of saving yourself, and you're quite ready to save yourself that way. You WANT it to happen to the other person. You don't give a damn what they suffer. All you care is yourself.
There's a one in six billion chance you're gonna find your soul mate. But, maybe, your perfect soul mate is actually three or four half perfect people. How far are you willing to go to actually find that perfect somebody... ies. If you're not willing to make a group of people your soul mate then you'd better plan on being alone. You'll always have television.
I suppose the important thing is to make some sort of difference,’ she siad. ‘You know, actually change something.’ ‘What, like “change the world”, you mean?’ ‘Not the whole entire world. Just the little bit around you.
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