A Quote by Dorothy Fields

I'm in the mood for love, simply because you're near me. Funny, but when you're near me I'm in the mood for love. — © Dorothy Fields
I'm in the mood for love, simply because you're near me. Funny, but when you're near me I'm in the mood for love.
What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood's a thing for cattle or making love or playing the baliset. It's not for fighting.
When I go on the set, I'm so rushed. When I see the actors at rehearsal, when I love it, I want to keep the mood - my mood and the actors' mood also. So I have to push the crew faster. I don't want to lose the mood.
Here's a phrase that apparently the airlines simply made up: near miss. They say that if 2 planes almost collide, it's a near miss. Bullshit, my friend. It's a near hit! A collision is a near miss. [WHAM! CRUNCH!] "Look, they nearly missed!" "Yes, but not quite.
The near enemy of love is attachment. Attachment masquerades as love. It says, “I will love this person because I need them.” Or, “I’ll love you if you’ll love me back. I’ll love you, but only if you will be the way I want.” This isn’t love at all - it is attachment - and attachment is rigid, it is very different from love.
I come out before the matches because it's important the fans see I am in a good mood. When I get to the club, my mood is always lifted. You can be in a terrible mood, but once you are at Fulham, you are happy.
All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.
The late hour is such a friend; it has been for so many years. There is not a soul around as I carry Riley downstairs and dump him in my trunk. It is good, for I am not in the mood to kill again, and murder, for me, is very much tied to my mood, like making love. Even when it is necessary.
I can not help it; as I draw near to you, you, in your turn will draw near to others, and learn the rapture of that cruelty, which yet is love; so, for a while, seek to know no more of me and mine, but trust me with all your loving spirit.
My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments.
I always wrote the music first, and the music gave me the mood and the lyrics were pretty much put in to give you a map, where that mood came from and where it's going. But my first love was really the music itself, and I guess I've gone back to that.
My mood has changed now. And the sun has gone behind the clouds. I'm in this mood I feel occasionally... this mood where there's a very good friend nearby who I should be phoning. If only I could reach that friend and talk, then everything would be just fine. The dilemma is, of course, I just don't know who that friend is. But in my heart I know my mood is merely me feeling disconnected from my true inner self.
I love [that] you smile at me, I love the way your hands reach out and hold me near... I believe this is heaven to no one else but me.
I have a constant kind of soundtrack going on at all times. I almost always have a song in my head. I'm very musically inclined. It feeds my soul. It definitely helps me get into a mood or get out of a mood. Or inspires a mood. Honestly, it is one of my therapists - cheaper and always available.
I am grateful to have been loved and to be loved now and to be able to love, because that liberates. Love liberates. It doesn't just hold - that's ego. Love liberates. It doesn't bind. Love says, 'I love you. I love you if you're in China. I love you if you're across town. I love you if you're in Harlem. I love you. I would like to be near you. I'd like to have your arms around me. I'd like to hear your voice in my ear. But that's not possible now, so I love you. Go.'
I don't always know what's going to go on in terms of the mood of the story. Sometimes I start with the mood, but sometimes I just try to work toward discovering it. But I do think often there's a mood or unsettling quality, in which the reality of the world seems to be taken away, that I really love, and it's something that I almost always unconsciously move toward.
To understand me, you have to meet me and be around me. And then only if I'm in a good mood - don't meet me in a bad mood.
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