A Quote by Natalie Zea
I'm not a big lingerie girl. I see it, and I love it, and I appreciate it, and sometimes I even buy it, and then it never gets worn. It just seems like kind of a wasted middle step. Either you're dressed or you're not. What is this in-between stuff?
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I'm kind of hard to double, but I did have one guy for a while as my double. I kind of like to do my own stunts, though, because it's just the overall experience. Sometimes you have to step aside when the stuff gets really dangerous, but I feel like sometimes you have to do your own stunts to make the role seem real.
I love the idea of the big life - the life that matters, the life that makes a difference. The life where stuff happens, where people take action. The opposite of the life where the girl can't even speak to the boy she likes; the opposite of the life where the friends aren't even good friends, and lots of days are wasted away feeling bored and kind of okay, like nothing matters much.
I wanted to move between film and theater - I never felt like I fit into TV. And I'm very anti-TV, like, 'I'm never going to do TV,' but also, TV didn't want me either, so it was kind of perfect. And then, of course, cable happened, and suddenly it was like, 'Oh, I could do that kind of stuff.'
We're not like some of those 'Elvis' guys you see in the grocery store, buying their stuff while dressed in a white jump suit, that sort of thing. We love doing what we do, we appreciate and respect our audiences, we have a true love of The Beatles.
It's really on the streets, if I'm in a car, or I'm walking by, and I see a girl. And you can see it, on her face, you can see it in her step and the way that she moves and flows, and you're like: "You go girl." And it's fun, and sometimes you just have to go up and be like, "You look fantastic!"
There's just so much girl-on-girl hate. It happens to start in high school, and then it builds and gets bigger and bigger, and it seems like for some reason there's this mentality that if another girl does well, she's taking my spot.
It's kind of like when you look at yourself in the mirror and you say your name. And it gets to a point where none of it seems real. Well, sometimes I can do that, but I don't need an hour in front of a mirror. It just happens very fast, and things start to slip away. And I just open my eyes, and I see nothing. And then I start to breathe really hard trying to see something, but I can't. It doesn't happen all the time, but when it does, it scares me.
What does it mean to be a used white wife, a mother, a tragic girl writing poems? Sandra Simonds gets into these messy words and then tears them apart. Sometimes with the words of others. And sometimes with poems made from scratch. They aren't all bad, these words. But they aren't all good either. And that is where Mother was a Tragic Girl gets its power. You will at moments be laughing but then you will also at moments just as much be crying. If Antigone was alive and decided to write some poems about the nuclear family, she would write them like Sandra Simonds. These are tough.
When two kids are being completely berserk, and they're naked and throwing food around, sometimes I just let it go because I can see a future where they're going to be dressed, and they're going to be at school. So I kind of let stuff go sometimes.
I'd love to work on something that gets some type of critical respect. This business is sometimes so brutal - you work on something for months and really feel like the project is good and you're doing the best work you can, and then it just gets hammered by critics. It's such a bummer sometimes, because everything seems to build up to the release and a couple of bad reviews can make it seem like it was all a waste, which you know it wasn't.
With 'Snowtown,' you either love it or you hate it; there's no middle ground. So I've come to understand and appreciate that's the kind of film that it is.
I wore the Marc Jacobs dress, so I love Marc Jacobs. He has a vintage flair. But I've always worn a lot of vintage stuff, so it hasn't been a lot of designers. If I see something that I like, I just buy it.
You play with the audience, and they play back with you. They get into it, and then everybody gets into it. I don't want to be like a monkey on stage and just go through the motions because then it wouldn't be fun anymore. I just pay attention to the audience and appreciate the fact that somebody wants to see us. That gets me psyched.
My ears are open to all sorts of stuff. I appreciate some of the big electro house guys.I love their music but I also like a lot of the stuff coming out of the U.K. Future garage stuff. A lot of stuff like that.
There is a lot of energy between Lars and James, and sometimes that energy can erupt. I know that before I was in the band, Kirk was the guy who was often in the middle, and it was important at that time. And now I feel like sometimes I'm the guy that's in the middle between not just James and Lars, but even Kirk.
It is one step, and a giant one, to see clearly and participate in the love that flows between the persons of the Trinity, but even here, God is seen as the object of his own love. It is yet another step to realize that God is beyond all subject and object and is Himself love without subject or object. This is the step beyond our highest experiences of love and union, a step in which self is not around to divide, separate, objectify or claim anything for itself. Self does not know God; it cannot love him, and from the beginning has never done so.
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