A Quote by Jennifer Saunders
I remember when the first police scary video thing came out, and you thought, wow, ooh, look at this, come and look, come and look. And now it's on every channel.
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Let’s think of reverence as awe, as presence in and openness to the world…Try walking around with a child who’s going, ‘Wow, wow! Look at that dirty dog! Look at that burned-down house! Look at that red sky!’ And the child points, and you look, and you see, and you start going, ‘Wow! Look at that huge crazy hedge! Look at that teeny little baby! Look at the scary dark cloud!’ I think this is how we are supposed to be in the world – present and in awe.
Look what you've already come through! Don't deny it. You've already come through some things, which are very painful. If you've been alive until you're 35, you have gone through some pain. It cost you something. And you've come through it. So at least look at that. And have a sense to look at yourself and say, "Well, wait a minute. I'm stronger than I thought I was."
There aren't many laughs in that and I remember doing a look and everybody laughed and I just thought, wow, that's incredible how you can do that. So I did another look and they laughed again and then I remember thinking, hold on, this isn't right for this piece, you've got to stop it.
The first thing that I do when I come out every night is to look at the faces in front of me, very individually.
Women do it all the time to look younger and it would make perfect sense if one of them ever came out looking younger - but they don't. They just look the same; they all get plastic surgery face. No matter who they look like going in, they all come out looking like the girl from the band on 'The Muppet Show.
I know somewhat about Kate [Moss who featured in the Vogue spread]. I always thought that Kate's look had come from my old friend Siobhan Liddell and some of her friends because they dressed like that about ten years ago. Unconsciously, and right after that, that whole look sort of came out.
I've been asked to do a retrospective since I was about 28 and I always thought that was a bit odd. It's great to look forward as an artist because in the future the possibilities are infinite; you look back and it's all fixed so it's a scary thing.
There were many factors as to why I decided to come out as being undocumented. One of them is because I look the way that I look; I don't look like the 'stereotypical undocumented' person.
I was transformed by picking up a pair of binoculars and looking up, and that's hard to do for a city kid because when you look up you just see buildings - and really, your first thought is to look in people's windows. So to look out of the space - out of living space - and look up to the sky, binoculars go far, literally and figuratively.
To this day, the first thing that I do every morning is look in the mirror. I'll tell myself, 'Look at your skin. Look at your teeth and your smile. You are beautiful.'
There has been something crude and heartless and unfeeling in our haste to suceed and be great. Our thought has been 'Let every man look out for himself, let every generation look out for itself,' while we reared giant machinery which made it impossible that any but those who stood at the levers of control should have a chance to look out for themselves.
What I try to do probably doesn't come out. What I've worked out what I do - I might not be right - is to do something very personal, and then suddenly I look at it, up in the air. I blow it up and look at it and then I come down again - a better man.
Look in, look the storm in the eye. Look out, to the sea and the sky. Look around, at the sight and sound. Look in, look out, look around.
I've said for many, many years, as long as I can ever remember, when I'm asked, 'Hey, what do you look for first in a quarterback?' The first thing I look for is accuracy, because the rest of it doesn't matter.
If I look at the people that I look up to, a lot of them don't come to the forefront until their early to mid-30s. I think the most exciting roles are definitely yet to come.
I don't go, 'I'm in the papers all the time,' because there are loads of people in the papers all the time. Sometimes I'm still like, 'Ooh, look- there's me!' I'm never like, 'Wow, look at me on the bus.' You have to be a bit grounded about things like that.
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