A Quote by Carla Gugino

I guess I've always been really attracted to period pieces and always felt visually I was probably more made for the '50s or the early '60s than I am for a modern day. — © Carla Gugino
I guess I've always been really attracted to period pieces and always felt visually I was probably more made for the '50s or the early '60s than I am for a modern day.
I was always a tomboy as a kid. I always had boyfriends. I was just a regular girl growing up in the late '50s and early '60s, but I was never really attracted to what the girls were attracted to: makeup, my appearance, homemaking.
I'm always scouring the universe for great old instruments from the '50s and early '60s. That's really, for me, the golden age of basses, when they had just been invented within 10 years of that period and they had just started to come into their own, especially the old Fender jazz basses and old Rickenbackers and Gibsons. I'm always on the lookout. It's fun.
An era that I specifically like is sort of late '50s, early '60s. I guess mid '50s, too. I like these types of films that deal with post-WWII America and this more complex leading man that kind of emerges from that.
For better or worse, we have evolved for sure, but we've also maintained a certain core about who we are, which is we were raised on late '50s and early '60s rock n' roll and R&B, and you can always hear that throughout. And that's just always been who we were. As much as we've evolved, that's stayed the same.
It's funny, but to me, when you go to a concert hall and hear electronic pieces from the '60s, I think they sound really dated. But when an orchestra plays a piece from that period, and it's going to sound different every time, it feels more modern to me.
I've always been way more attracted to playing imposing characters than the hero. I've always been more intrigued by Iago in Shakespeare than playing Romeo. That was always boring to me.
I've always just felt like an outsider. I've always been made fun of in school ever since kindergarten. For me, when I started singing, that's when I started making "friends,". That's when people started taking an interest in me. That was the thing that made me likable, I guess. Maybe even lovable! I think that's really why I'm so hellbent on doing this as a career is because those are the moments where I felt at my most confident.
I'm not particularly ethnically Scottish; I have one grandfather who is Scottish, although he's called Macdonald, and you don't get a lot more Scottish than that. The Scottish part of my family are from Skye, and I've always been very aware of that - always been very attracted to Scottish subject matter, I guess.
I've always been drawn to the American style in the late '50s and '60s.
I had always been interested in politics. I had assumed - for two reasons, being Jewish and being gay back in the late '50s, early '60s - that I would never be elected or anything, but I would participate as an activist.
I've always felt that I've made films, period. I wanted to leave the "ghetto." And here I am, I'm out.
I think because my parents died in their early 50s, mid 50s, I always thought I would die young. And that's been both a useful thing and I suspect something that's haunted me a little bit.
I've always had a massive fascination with the modern day cowboys. Modern day outlaws or going against the system, and that's always been very intriguing to me.
I had always been interested in politics. I had assumed, for a variety of - well, for two reasons, being Jewish and being gay back in the late '50s, early '60s - that I would never be elected or anything, but I would participate as an activist.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
I've always been "other." I've always felt odd; I have always felt foreign in the environment I've been in. When you are young, that is a really uncomfortable thing to feel. As an older woman I really embrace it.
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