A Quote by Diane Kruger

A lot of directors idealize their leading ladies or turn them into these objects of sexuality and beauty. — © Diane Kruger
A lot of directors idealize their leading ladies or turn them into these objects of sexuality and beauty.
'Beauty Queen' is the weirdest, strangest, and most perfect play to do before 'Hedda Gabler', because there are so many similar issues for Maureen and Hedda. I had played leading ladies before but couldn't really hook into them. After 'An American Daughter' and 'Beauty Queen', I had all the ballast.
Beauty Queen' is the weirdest, strangest, and most perfect play to do before 'Hedda Gabler', because there are so many similar issues for Maureen and Hedda. I had played leading ladies before but couldn't really hook into them. After 'An American Daughter' and 'Beauty Queen', I had all the ballast.
Hollywood stops hiring their star leading ladies when they turn 40. It's very defeating.
The visual can seduce you, leading to false deductions, and ultimately, even the finest ideas can be reduced. Take for example, sexuality. If it is reduced down to the moment and to pleasure, things like that, that's not what sexuality is all about. Sexuality was to be in tandem with the sacred, not amputated from it.
Happily there exists more than one kind of beauty. There is the beauty of infancy, the beauty of youth, the beauty of maturity, and, believe me, ladies and gentlemen, the beauty of age.
Teachers can be a living example to their students. Not that teachers should look for students to idealize them. One who is worth idealizing does not care whether others idealize them or not. Everyone needs to see that you not only teach human values but you live them. It is unavoidable sometimes you will be idealized -- it is better for children to have a role model, or goal, because then the worshipful quality in them can dawn.
The taste of the more recent accessions to the leisure class proper and of the middle and lower classes still requires a pecuniary beauty to supplement the aesthetic beauty, even in those objects which are primarily admired for the beauty that belongs to them as natural growths.
A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.
I worked with a lot of leading ladies: Bebe Neuwirth, Anne Rankin, Bernadette Peters, Liza Minnelli. They're all phenomenal talents.
We still want to idealize moms, and sometimes we want to idealize actresses who are moms, too. I know that's something I've experienced, but we're all just doing the best we can and we're all trying to raise our kids and talk to them about everything that needs to be discussed.
The ladies who try to keep their beauty are the ladies who lose it.
Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.
The secondary Imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.
So I think it is common knowledge that Hitchcock had fantasies or whatever you want to call them about his leading ladies.
It's entirely to do with personality, I think. There are good directors who talk a lot, bad directors who talk a lot, and good directors who don't say much and vice-versa. It just depends on whether people respond to that personality and whether people have a willingness to do something for them.
Beauty is our weapon against nature; by it we make objects, giving them limit, symmetry, proportion. Beauty halts and freezes the melting flux of nature.
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