A Quote by Jacqueline de Ribes
The theory in great families was 'why work if you don't have to.' Being a public figure was reserved for movie stars.
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Being a public figure was reserved for movie stars.
Restaurants and chefs have become followed by such a broad swath of the public, in a way that used to be reserved for sports stars, movie stars, and theater actors. Restaurants are in the firmament of today's common culture.
I don't care about being remembered. I'm not a wonderful writer or anything. This should be reserved for people who really did something great. I think it's a mistake to consider the movie director as if they were great artists.
It is surprising how many professional athletes, along with their families and friends, are gaga over movie and music stars, and the reverse is true with entertainers and sports stars.
The cult of celebrity in the '60s and '70s was really more reserved for movie stars or high socialites. Paparazzi didn't care about Janis Joplin.
When you're working with movie stars, part of the deal is that, if they have something to say, you'd better listen. You don't have to absolutely listen and not talk, but there is another creative force at work, and to be successful working with movie stars, you have to bring that force to work for you. You have to find something that's comfortable for them, and at the same time, that's in the parameters of what you're trying to do yourself.
The movie stars and matinee idols are put into the public domain by photography. They become dreams that money can buy. They can be bought and thumbed more easily than public prostitutes.
From the point of view of being in the public radar, comedians have less problems than other actors. Action movie stars like Stallone or Schwarzenegger usually attract the more aggressive fans.
I used to enjoy the anonymity of being a literary figure and occasionally a public radio figure.
Sometimes when you get on a new movie you kind of how to figure out the way other people work and it can be like being the new kid in high school where you're just trying to find out where your place is on the movie or on the set.
There are some people who get money just because they've got large families. So if it pays to make large families and earn more money than you would earn out at work, why not have more families, larger families? That's wrong.
I won't complain about touring, because I really do believe that a public-figure musician complaining about being a public-figure musician is just absurd. Like, 'Boo hoo hoo! I have to stand on stage and people pay attention to me!'
Henceforth, whilst there are a great many theories and models proposed as to how, or why, magic works (based on subtle energies, animal magnetism, psychological concepts, quantum theory, mathematics or the so-called anthropomorphic principle) it is not a case that one of them is more 'true' than others, but a case of which theory or model you choose to believe in, or which theory you find most attractive. Indeed, from a Chaos Magic perspective, you can selectively believe that a particular theory or model of magical action is true only for the duration of a particular ritual or phase of work.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
I don't blame people or 'pop stars' or whatever for being so quiet, but you can't take it too seriously, especially on social media. It's a very hard thing to be yourself, especially when people are watching, so I don't blame them for being a bit reserved.
The big-name stars . . . are always going to be playing what they've played before if they want to remain so-called A-list stars. That's why someone like Johnny Depp is doing more interesting roles not caring about the size of the movie.
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