A Quote by Giorgio Armani
My relationship with Paris began when I was working for Cerruti in the mid-1960s. When there was an important event in his store, Nino Cerruti very kindly took me with him. I was fascinated, and the city made a big impression on me.
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So Colleen Atwood introduced me to Armani for the fabric and the dyes - what made Armani, Armani, beyond his motion-picture credentials. It was Cerruti after that. And then Zegna.
When I took the decision to join City, Pep Guardiola's call was very important. He called me, spoke to me about the project, and explained that I was going to be an important part of it. I felt very happy. The prestige of Manchester City's shirt is also very important.
A long time ago, I took a walk down a street in Harlem in New York City. I came upon a man who asked me for a dollar. He had asked a few other people before me, but they only passed him by without glancing his way. I stopped and handed the man some money. As I began to turn away, he reached out and shook my hand. He looked me in the eyes and said, "I will bless you." Now, I'm not saying that was God Himself. But how do we know that it wasn't someone working for him, walking around in disguise, just to see what we would do?
I can't tell you how exciting it was, because Vincent Price had made a huge impression on me when I was a little kid. I just loved him in films. And so meeting him and becoming friends with him was a big deal for me.
...But he was a good landlord. When my heater stopped working in mid-December, it took him only two weeks to get it fixed. Of course, it took me knocking on his door in need of a warm place to sleep to get it that way, but one night on his sofa, where I’d suddenly developed night terrors and epilepsy, and that puppy was running like a Mercedes the next day. It was awesome.
One summer I remember, I got exposed to Chuck Berry and Buddy Holly and Buddy Holly was a very very big, made a very big impression on me. Because of a lot of things, you know, the way he looked and his charisma.
Everybody recommended me to Sinatra and Don Costa, because everybody was enjoying my music. I got a big following going on. Nino (Tempo) told Don Costa "you gotta come see this guy." And that's how Don Costa heard about me, through Nino Tempo. Then, Don Costa brought me to the attention of Frank Sinatra and Reprise Records.
My father was an inspiration to me; I made a few movies with him and I loved working with him. Everything about him - his whole approach to work, as well as his love, enthusiasm and respect for it and other people in the business - was inspiring. I was very lucky to have him as a role model.
When I began writing in the mid-1960s, I thought it was not important for readers to know whether I was male or female. Also, I was a great admirer of E.B. White, so I may have thought that it would bring me luck to submit my first manuscript as 'E.L.' But if I were starting out today, I would use my first name.
Working crew made me realise that the actors are a very small part of a very big machine, with each part being vital to make the show work. It so important to remember that it's not about you, it's about the show, and working crew hammered that point home to me.
Manet wanted one day to paint my wife and children. Renoir was there. He took a canvas and began painting them, too. After a while, Manet took me aside and whispered, 'You're on very good terms with Renoir and take an interest in his future - do advise him to give up painting! You can see for yourself that it's not his metier at all.
I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.
Jaipur plays an important role in my journey of becoming an actress. It all began in this city. One day, someone spotted me in the city and asked me to come for a photoshoot.
What an immense impression Paris made upon me. It is the most extraordinary place in the world!
Movies always fascinated me. They are an endless source of inspiration. There are countless images by great directors that made a profound impression on me, and I see film as a sublime example of teamwork.
Anne Frank's diary made a very big impression on me at age 12 or so.
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