A Quote by Keira Knightley
I worked with John Maybury on The Jacket and I think he's an extraordinary film-maker. I read the first drafts of this piece when I was working on The Jacket, and we'd so fallen in love with him that we thought he was the only person that should direct this! We wrote poems for him, we sent him champagne and cakes. Four years later he finally read it.
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I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.
Justice. To be ever ready to admit that another person is something quite different from what we read when he is there (or when we think about him). Or rather, to read in him that he is certainly something different, perhaps something completely different from what we read in him. Every being cries out silently to be read differently.
The problem is that many who reject Marx do not read him, or read him only by bringing prejudices to their reading that prevent them from understanding him.
When I was with John it took me awhile to say, 'I'm in love with him.' I loved him as a person because I'd known him for three years. But as the person I'm living with who became my lover, it was really a slow move.
A boy is a long time before he knows his alphabet, longer before he has learned to spell, and perhaps several years before he can read distinctly; and yet there are some people who, as soon as they get on a horse, entirely undressed and untaught, fancy that by beating and spurring they will make him a dressed horse in one morning only. I would fain ask such stupid people whether by beating a boy they would teach him to read without first showing him the alphabet? Sure, they would beat him to death, before they would make him read.
I have come to communism because of daddy Stalin and nobody must come and tell me that I mustn’t read Stalin. I read him when it was very bad to read him. That was another time. And because I’m not very bright, and a hard-headed person, I keep on reading him. Especially in this new period, now that it is worse to read him. Then, as well as now, I still find a Seri of things that are very good.
I was at Plaza Athénée, where a jacket and tie was required. Andy Warhol came with his turtleneck, because he was always wearing a turtleneck, with a tie over it, and we gave him a jacket - so he had a jacket and tie over the turtleneck. It was pretty cool.
God, it was good. Comforting and stimulating at the same time. Absolute world-class pheromones. I wished I could take his jacket home with me. Not him, just the jacket.
As when my little son John offendeth: if then I should not whip him, but call him to the table unto me, and give him sugar and plums, thereby, I should make him worse, yea should quite spoil him.
I wrote my friend a letter using a highlighting pen. But he could not read it, he thought I was trying to show him certain parts of a piece of paper.
To me, a Harris Tweed jacket is the kind of thing you should be able to have in your closet years from now - possibly it was your father's jacket or, even better, your grandfather's jacket.
You need not fear me, for I not only should think it wrong to marry a man that was deficient in sense or in principle, but I should never be tempted to do it; for I could not like him, if he were ever so handsome, and ever so charming, in other respects; I should hate him—despise him—pity him—anything but love him. My affections not only ought to be founded on approbation, but they will and must be so: for, without approving, I cannot love. It is needless to say, I ought to be able to respect and honour the man I marry, as well as love him, for I cannot love him without.
Firoz Nadiadwala is a close friend; he was the first person who asked me to direct a film for him. I would like to have him as my producer for my directorial debut.
I hadn't read or heard a lot about [Tom] Wolfe until I read this script, and in that way I think it was really clever to write a piece about him instead of Max Perkins,[Ernest] Hemingway, [John] Fitzgerald, or others that people have strong opinions of already.
The literary man has a circle of the chosen few who read him and become his only public. . . . What more natural than that he should write for those who, even if they do not pay him, at least understand him?
Sean pushes up to his feet and stands there. I look at his dirty boots. Now I've offended him, I think. He says, "Other people have never been important to me, Kate Connolly. Puck Connolly." I tip my face up to look at him, finally. The blanket falls off my shoulders, and my hat, too, loosened by the wind. I can't read his expression--his narrow eyes make it difficult. I say, "And now?" Kendrick reaches to turn up the collar on his jacket. He doesn't smile, but he's not as close to frowning as usual. "Thanks for the cake.
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