A Quote by Katherine Moennig
I'm not thrilled that I have a tramp stamp. When you see people bend over in their really low-cut jeans, I'm like, 'Oh... that's what I have.'
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I'm not thrilled that I have a tramp stamp. When you see people bend over in their really low-cut jeans, I'm like, 'Oh... that's what I have.
I like guys who wear nice clothes, nice jeans, nice trainers - I hate skinny jeans and those T-shirts that are really low-cut.
We've had distressed edges. We've had culottes. We've had high waisted jeans, we've seen the heralding of the new bootcut back again. I'm so sorry to say this to you, but the only way forward is ultra-hipsters, you know? Like super-low cut, low-rider jeans, to the extreme.
When I first heard that they were going to make 'Beauty and the Beast' at Disney, I was like, 'Oh, God, there's no way I'm going to see that movie,' because I knew what that movie was, was just two people sitting down to dinner over and over and over again. But then when I went to see it, it was like, 'Oh, they made it work.'
My problem is that I always find jeans that are either high-waisted or low-rise, but nothing in between, like they used to be in the eighties and early nineties. That's actually the most flattering cut.
I think jeans have gotten away from the original meaning, that symbol of freedom; they've gone gimmicky and turned into a status item. Our denim is offered at lower price points for that reason. As far as the men's clothing in the collection, it's basically my wardrobe. I think men's clothes should be grounded, strong and classic. I like simple: a blazer, jeans, a low cut tee and maybe a silk scarf.
My dream was always to have a stamp. I feel like people who have a stamp really did something. They really did some acts of service.
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
Bend over to the front touch toes
Back dat ass up and down and get low (get low)
Before I got the contract, I'd heard from a lot of people that a contract with a company like Estee Lauder was like a stamp of approval, a stamp of your legit-ness. So getting that was a really big step for me.
Sometimes a man gets carried away when he feels like he should be having his fun and much too blind to see the damage he's done, oh sometimes a man must awake to find that really he has no one. So I'll wait for you and I'll burn will I ever see your sweet return, oh will I ever learn? Oh, Lover you should've come over. Oh love well I'm waiting for you.
I did something that's a no-no in the music industry. I cut my hair. For years, my hair was my stamp. 'Oh, that's the long-haired guy from the Black Eyed Peas.' But when I did it, it was like a breath of fresh air.
I have a political aversion to blue jeans. I'm biased against them. I really am. I've been forced over the course of my life, I have been forced by certain people to try a pair of jeans. So I've gone and I've tried 'em on, and I hate 'em. They're not comfortable. They just are not comfortable. I hate wearing anything that makes me feel like I have it on, and blue jeans make me feel like I'm wearing burlap.
I worry about Zimbabweans. They bend, they bend, they bend, they bend - where do the people break? How long can they go on scrounging for food in garbage dumps and using the moisture from sewage drains to plant vegetables?
Practically everybody I've ever worked with, I'd like to work with again. I had a great time with the people that I've worked with, and the directors, and a lot of the casts. There's really nobody where you'd say, "Oh, I got X, Y, and zed again! Gahhh, no!" It really brings a smile to my face, because in 95 percent of the cases, people I've worked with, I'd be thrilled to work with again.
I always like to cite John Cage's mantra, "If you can stand it for two-minutes, try it for four." In fact, when I look at some of those early films of mine, I think, "Oh my God. Cut it, cut it." The general sense of duration has changed over the years, my own sensibility with it.
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