A Quote by Kathy Bates

I want to see women onscreen the way I see them in society. — © Kathy Bates
I want to see women onscreen the way I see them in society.
I'm trying to be what I want to see more of: Black women onscreen.
I still use the pronoun she for my publicity materials, and for mainstream media stuff, for two reasons: the first is that I do a lot of work in public schools, and I want those young women and girls to see every kind of she there can be. I want them to see my biceps and my shorn hair and shirt and tie and for some of them to see me as a possibilityI want them to see me living outside of the boxes, because they might be asphyxiating in their own box and need to see there is air out here for them to breathe, that all they have to do is lift the lid a little.
Older women know who they are, and that makes them more beautiful than younger ones. I like to see a face with some character. I want to see lines. I want to see wrinkles.
Most people see what they expect to see, what they want to see, what they've been told to see, what conventional wisdom tells them to see - not what is right in front of them in its pristine condition.
I see women as oppressed, but I don't see them as victims; I see them rising all the time. I see them as very strong.
Young girls need to see women who are strong and vulnerable and complex onscreen.
In general, in all my films, I choose to create a certain mistrust, rather than claiming that what I'm showing onscreen is an accurate reproduction of reality. I want people to question what they are seeing onscreen. In the same way as I used the narrator, I also used black and white, because it creates a distance toward what's being seen. I see the film as an artifact rather than a reliable reconstruction of a reality that we cannot know.
I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.
I don't see people. I don't see men and women at all. When I see them, I see... their mothers and fathers. I see how old they are inside. Like when I look at the president, or anybody in a record company, or a store owner, I may see a little boy behind the counter with the face of an old man. And that's who I talk to.
I need and want to see capable women. I don't like to see them weep all the time.
Toys are intriguing, and I want to see what I can do with them. On a deeper level, they represent one way that society socializes its young
We see women on the field; we see them interviewing players, we see them coming out of the dugout. But if you put them in the booth - like, hold up, wait a second - you haven't been there before. This is different.
I think it's a dance that people want to see. It's a chemistry that people want to see. In the same way that people don't want to see a perfect hero with no flaws who can handle anything, people don't want to see a perfect relationship. There's nothing interesting about that. People want to see you fail.
I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.
For me, like, obviously, I want to see myself onscreen.
I want people to see that all-important time in a different way-in the way it was. For of a number of reasons, including the absence of photographs, we tend to see the men and women of the Revolution as not quite real. And we have far too little sense of what they suffered.
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