A Quote by Matt Fraction
We were pregnant at the time, and while I was out there I started to realize that if I had a daughter, there would come a day when I would have to apologize to her for my profession. I would have to apologize for the way it treats and speaks to women readers, and the way it treats its female characters.
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I started doing flats because women would always apologize for wearing them when they met me, as if they had to be in heels when meeting a shoe designer.
I would like to find a more precise way to not only tell the stories of female characters, but also do so in a female "way." My biggest advice would be to trust yourself.
When I was pregnant, I had the romantic idea that after the baby was born I would not only take up reading in earnest again, but also write a novel while my daughter slept in her Moses basket. Of course, I barely had time to keep up with my magazines until she started sleeping properly.
But while I'd be their daughter, while I'd eat the roast and come home from dates and wash the dishes, I would also be myself. I would love my mother, but I'd never want to be her again. I would never be what someone else wanted me to be. I would never laugh at a joke I didn't think was funny. I would never tell another lie. I would be the truth-teller, starting today. That would be tough. But I was tougher.
It used to be that you had to make female TV characters perfect so no one would be offended by your 'portrayal' of women. Even when I started out on 'The Office' eight years ago, we could write our male characters funny and flawed, but not the women. And now, thankfully, it's completely different.
I embrace treats, but I'm also very wary of treats. Treats help us feel energized, appreciated, and enthusiastic - but very often, the things we choose as 'treats' aren't good for us. The pleasure lasts a minute, but then feelings of guilt, loss of control, and other negative consequences just deepen the lousiness of the day.
I worked very hard to try and figure out what I thought and I believed that we were going to succeed and that revolutions would happen globally and we would be a part of that and we would have then not capitalism. We would have values based on human lives, not profit. We would actually transform the kinds of ways people built love and built community. It was a very shocking thing to me, out of the end of the 70s and the beginning of the 80s, to realize that that dream - while I still believed in it - was not going to happen in the way that I had hoped.
I think that Roseanne can find her way through to apologize to the community, to apologize to the people she offended most, and move on with her life. To think that she can't is almost totalitarian.
You can judge a country by the way it treats its prisoners, and you can always judge a show by the way it treats people coming on to do these guest shots.
The human mind treats a new idea the same way the body treats a strange protein; it rejects it.
Remember that good things come in threes and so do bad things and always apologize when you've done something wrong but don't you ever apologize for the way your eyes refuse to stop shining.
When I first started out, there were times I would dress or act in a way because I thought it was expected of me or that people would take me more seriously. But once I started leading in a way that was authentically me, that is when I really started to see success.
To apologize for the Balfour Declaration would be to apologize for the existence of Israel and to question its right to exist. Here in Britain, we will not merely mark the centenary - we will celebrate it with pride.
My mother had no idea that her daughter would turn out to be a writer, but she would not let me go through a day of my childhood without music.
I would like somebody confident who takes care of his business, is strong, healthy. Somebody that loves their family and treats their friends right - and treats me right.
I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.
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