A Quote by Loretta Young

I was a very wanting child. — © Loretta Young
I was a very wanting child.
The birth of a child is in many ways the end of a marriage - marriage including a child has to be reinvented, and reinvented at a time when both husband and wife are under unprecedented stress and the wife is exhausted, physically drained, and emotionally in shock. A man's conflict between wanting his child to have a mother and wanting to have the mother to himself is potentially intolerable.
The whole notion of sanity may be an attempt to medicalize morality - to speak of the good in the language of health: to make us more accurate, more scientific in our wanting - but by the same token it becomes a form of moral blackmail. It is as if to say: if these are not valued - if these forms of wanting and feeling and speaking and doing - are not cultivated and encouraged and rewarded in the child, then the child will be mad.
When I was a child I experienced moments of not wanting to see the ugliness, not wanting to see not being wanted. This lack of love went into my eyes and into my mind.
Every time I see a good play or watch a good movie, I have the same feeling I had as a child of wanting to be that person on stage or wanting to run through the forest with a big dress on.
I started to write things down, as a very young child, wanting to find a way to remember - to keep close, somehow - moments that made an impression on me.
That a little child will lead us back to the child we will always be, vulnerable and wanting and hurting for love and for beauty.
There's a difference between wanting to be respected and being a strong female and being known for being able to do things, but still very much wanting guys to open the door, wanting them to ask us out, still bringing flowers and stuff like that.
It's strange: I've done so many things up until I did 'Obvious Child,' including writing children's books and making 'Marcel the Shell.' To me, the through-line is incredibly clear: it all comes from wanting to be connected to my own inner voice and not wanting to be on somebody else's agenda if that means that I can't be myself.
I wanted to keep the complexity of the female experience in the film as much as it is in the book, and the subject of not wanting a child is a very interesting subject, one that's not dealt with very much actually.However that complexity was not serving the story of what became the film [The Girl on the Train].
Being an immigrant myself, but feeling very American, and also being the child of immigrants, I understand the feeling of wanting a home.
Certainly I was a very religious child, a deeply weird and very emotional child, an only child with lots of imaginary friends and a very active imagination. I loved Sunday school and Bible camp and all that. I had my own white Bible with Jesus' words printed in red in the text; I even spoke at youth revivals.
I was a very, very old child. Sometimes you meet a child who seems more like an adult. I think I was that type of child because I had a nearly fatal kidney disease when I was 9 years old.
I never look at myself as a closet actor wanting to make music or a closet musician wanting to act — I’m very proud to do both and I don’t put one above the other, I’m very grateful and excited by both opportunities — it’s really a unique opportunity to do both.
I was a very driven person, wanting to help and to do good, hopefully to write and teach in a meaningful way - wanting to make change. And I discovered humbly that life was changing me.
From a very young age, I felt a spiritual, visceral, instinctual connection with 'black is beautiful.' Just the black experience and wanting to celebrate that. And I didn't know how to articulate that as a young child.
Whenever you experiment with something, it's very easy to take the emotion out of it. And going back and forth between wanting to be respected artistically and wanting to move people is its own challenge.
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