A Quote by Natasha Leggero

Your main contribution is spray painting your nickname on other people's things. And my cousin, who's a 'gangster', he's like, 'No, Tash, you don't understand; you throw a fat piece up there, that piece is yours.' I'm like, 'No one thinks you own Costco.'
It seems to me it's perfectly possible to vehemently disagree with a piece of work and to say that it's offensive and insulting and so on and so on. And you're absolutely entitled to do that and to speak back, if you like, against that piece of speech with all the vehemence at your disposal. I mean, that's legitimate. Even other things. People have a right to demonstrate.
All over the world people have developed their own ideas about what's right and wrong in life, but so long as you aren't harming others or the Earth, it's your choice when you decide how you want to live your life - Yours and yours alone. Life's no piece of cake, mind you, but the recipe's my own to fool with.
In a way, there's nothing more intimate than a piece of jewelry. A painting is hung on somebody's wall. You put a piece of furniture in your home. But jewelry is worn by a person, so there is a fascination with the history of a piece.
Bringing together disparate personalities to form a team is like a jigsaw puzzle. You have to ask yourself: what is the whole picture here? We want to make sure our players all fit together properly and complement each other, so that we don't have a big piece, a little piece, an oblong piece, and a round piece. If personalities work against each other, as a team you'll find yourselves spinning your wheels.
Whenever you're trying to do your own take on a classic piece of literature, it's almost like you're trying to swim up your own stream or drive down your own path.
There's no reason to keep a piece of furniture in your house that is so sacred and rare that you can't put your feet up on it and a dog can't jump up on it. Likewise, a book that sits on a shelf like a piece of porcelain, only to be admired, never to be read again, is a dead book.
How easy it is to see your brother's faults, How hard it is to face your own. You winnow his in the wind like chaff, But yours you hide, Like a cheat covering up an unlucky throw. Dwelling on your brother's faults Multiplies your own. You are far from the end of your journey. The way is not in the sky. The way is in the heart. See how you love.
I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twists and turns of an artistic career.
As an actor in the classroom, you're revealing so much, and teachers are, you know, they're just critiquing like a painting or a piece of work; it's like, it's you, and it's your emotions that they're working with.
The key is to trust in your own divinity, to know that you are a piece of God, and that you are like what you came from. As a spiritual being, you have Divinity within. When Albert Einstein was asked about the impact of quantum physics, he said, "It's just all details, I just want to think like God thinks." And God thinks in terms of creating, kindness, beauty and goodness.
There are so many steps you have to go through to reach a high level, so you're kind of building your own, I would say, mountain. You have to go piece by piece by piece. When you're young and really ambitious, you want to jump right up. It kind of teaches you a lesson, I would say.
360 deals are the new things of the industry. It's not about selling records; it's about selling T-shirts, getting a piece of your publishing, getting a piece of your touring, and all these other kind of properties.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twistsand turns of an artistic career. Throwing an opera at them is something they have to notice. There's nothing subtle about it.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
I'm kind of an insecure artist. I hop from piece to piece. I always think my life depends on every painting. Every painting is my first painting.
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