A Quote by June Diane Raphael

I'm on Grace And Frankie, which is also about that time in life, I'm realizing. But I would - so I guess I am sort of in that show. But there's something about The Golden Girls and the sort of multicam set and Bea Arthur that I just want to be around those ladies all day long, and I want to be on those comfy couches and want to sit in that kitchen in those chairs in those pastels, and I want to wear Blanche's outfits and it's just really... and I want to sit outside in that weird little courtyard.
I don't want to be a basket case on set. I try to sort of quiet all of that, all those thoughts, kinda just let yourself be aware of them when you're preparing to do the work but then once you get there you have to feel as free as possible. Anything that I perceived as something that ran the risk of stressing me out, I just left outside the studio doors because I didn't want to undermine myself.
I set the bar high because I don't want to do just any other show just to keep working. I want to do something special that means something to people and speaks to them. Those kinds of opportunities don't come along all the time!
This book is written for those who want more Jesus. It is for those who are bored with what American Christianity offers. It is for those who don't want to plateau, those who would rather die before their convictions do.
Modern acting is method acting, most of it. And there are sort of different schools, so I guess I'm not really from one school or another. I had a number of different teachers but they were all kind of drawing from the same pool, which is - What do you want? What are you doing to get what you want? And, what is in the way? These are basic acting questions. Knowing the answers to those questions. So you're talking about objectives and actions and obstacles. That's a sort of shorthand that gives you a language.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
I’ve never watched an entire episode of "American Idol." It’s too mean. Why would anyone want to go on a show to be ripped apart? I don’t want to be tough with my singers, but I do want to tell them on "The Voice" that if you really want this, you’ll be kicked when you’re down. You have to be willing to roll with those punches. You have to really want it.
I think there are more limiting factors in my career than just being chocolate. I think being a curvy girl is also a factor. Being someone with natural hair is also a factor. Those are things that I can't change. Personally, I don't want to live with limitations. If there comes a time where I am dying to play Juliet or Macbeth, I want to make those avenues for myself. The world might limit me, but as the type of artist I am, I'll create those opportunities.
When people are talking about manifesting, we can say, "I want a car, I want a car, I want a car," but if the mind is running, "I don't deserve it, I'll never be able to afford it, I'll never be a success" - if all those things are running - then those things are what we're really manifesting. They are exactly what's running our life. And as long as we believe those thoughts, thinking positively is not strong enough to override our negative beliefs.
. . . the whole idea of WHAT HAPPENED WAS.... is not about dating. It is more about people who are not committed to who they are or are indifferent about their life in general, which is how I felt about myself when I wrote it. I had turned 40 and I was unhappy and I wanted to write about that. Dating just became the framework. . . . I like all those fringy, weird, nonverbal, quiet, tiny little things, those powerful interchanges between people, things that go unsaid, that people know are happening all the time but nobody wants to talk about. That's what I want to make movies about.
You know, people don't want their intelligence insulted. They don't want to be preached to. They don't want to be degraded. All they want to do is sit, laugh, have a good time, love one another, forget about what's going on in the world, and find something out so they can be useful in this life. Do this and you have common sense.
There's a lot of pressure to look good, have the gun, know what you're doing and be one of the boys. I was like, "I don't want to be one of the boys. I want to be a doctor. I want to be cerebral. I want to sit back and just use something else. I don't want to do the stunts. Let the boys do that. I'm just going to be the doctor who's about taking care of other people."
I like to wear more traditional work outfits like pants and a blouse, but I want the blouse to have something that is a little bit different and interesting - like with some studs on it or a little bit of lace. I want to feel comfortable and confident and don't want to have to think too much about what I wear every day.
I wouldn't want to stop making those gaffes, even if I could. People realise I am flesh and blood. I am not sensitive about it. It's just my enthusiasm. I want to say so much more than I have time for.
There's the part that I just want what I want, and I don't want to be bothered by anything else, and sort of the short-term more compulsive self. And then that's the longer-term, aspirational self that wants to be informed about the world and wants to be a good citizen. The best media basically helps us strike a balance between those two things.
It's a nightmare to administer some of this sort of thing, but I want to tell the shareholders of Berkshire, to the percent we own marketable securities or things for which there are market, even if those markets - I want to tell them what it's all about.
When you think of fashion photography, it's a dream. It's like we all want to be those women. We want to wear those dresses.
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