A Quote by Melanie Lynskey

For "The Intervention" I came up with a back-story and Clea [Duvall] was like, "No." And I was like, "I don't care." — © Melanie Lynskey
For "The Intervention" I came up with a back-story and Clea [Duvall] was like, "No." And I was like, "I don't care."
My favorite lesbian romance of all time is the 1999 movie 'But I'm a Cheerleader,' starring Natasha Lyonne and Clea DuVall. RuPaul is also in it; so is the brilliant Melanie Lynskey.
I played soccer growing up, and then high school came along and the football coach came out one day and was like, 'Hey, do you want to kick for us?' I was like, 'Sure, I'll come out and kick one day.' I got moved up to varsity and that's how the story began.
I feel like people being themselves and not being scared of judgment, they're putting that into their music, and it's like, 'Wow, they came up with something fire because they didn't care how you were going to feel about it. They didn't care if you were going to like it or not.'
I'm not ashamed, or embarrassed. I'm happy that I grew up listening to gospel music and came from where I came from. I feel like I have a history and a story. That's what I am and that's what I'll always be from. I was never running away from it.
I have decided to leave Clea’s last letter un-answered. I no longer wish to coerce anyone, to make promises, to think of life in terms of compacts, resolutions, covenants. It will be up to Clea to interpret my silence according to her own needs and desires, to come to me if she has need or not, as the case may be. Does not everything depend on our interpretation of the silence around us?
But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up.
Eventually, it came to this place like, "I'd like to direct, but I need to find the story to tell." Man of Tai Chi became the story to tell.
Eventually, it came to this place like, 'I'd like to direct, but I need to find the story to tell.' 'Man of Tai Chi' became the story to tell.
I have 236 movies on my queue and I feel like I should always be watching movies. Like if I wake up in the middle of the night and don't fall directly back to sleep, I'm like, 'I've been up for an hour and a half I could have watched 'Toy Story 3' by now.' In this economy it is a sin not to be watching movies when you have Netflix.
The biggest threat to your creativity is the fear that it's already been done, said, created. (So why bother?) Say it, do it, make it anyway - but tell YOUR story along the way. The story of how you came to know what you know. The story of what you want to know more of. The story of why you do what you do. The story of how you came to care. And that's how you create what's never been created before.
I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.
I really love Robert Duvall, who I think is maybe the best American actor. I love Robert Duvall because the ability that he has to change and do the most amazing work.
I'm more experienced, I've won titles at Juventus. I've been playing with big players like when I started at Man United, of course. I came back. I've not come back from the Academy now; I went to play somewhere else, and I came back, I would say, as a person, as an adult.
I tied down time with a rope but it came back. Then I put my head in a death bowl and my eyes shut up like clams. They didn't come back.
I met Paul Kossoff for the first time when I was playing in the back of a pub room in Finsbury Park in London in 1967. It was kind of a blues thing going on, and he came up and said, 'I'd like to have a jam.' So he came up and jammed with me, and I just loved his playing right from the start.
Right after college, after growing up in the United States, I moved to India, broadly telling the story of how an old and stagnant country was suddenly waking up. And I came home, back to America, in 2009 after telling that story and writing a book about that.
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