A Quote by Nicolas Roeg

Tony Curtis was a joy to work with. He had a curious innocence that is very young and wise at the same time. — © Nicolas Roeg
Tony Curtis was a joy to work with. He had a curious innocence that is very young and wise at the same time.
I was very proud to be Mrs. Curtis Amy. My thing in life when I married Curtis Amy was being Mrs. Curtis Amy. Career was fine, but I was enthralled with being Curtis' wife. That was very important to me back then, and that's always important to a young lady from New Orleans. That's our upbringing: to be a wonderful wife and mother first.
When I was very young I was very shy but at the same time I was very open cause I was very curious so I wanted to try many things.
Puberty is such a confusing time. You are still a child, with all that wonderful naivete and innocence, but your body is changing, and you're self-conscious and curious about its impact on others all at the same time.
Celia [Brady] is a young woman who, you know, she's still got that fresh young vibe about her but at the same time she's quite wise beyond her years and very mature and she has that womanly, sexy quality, but at the same time she's very youthful in her clothes. She has that interesting mix between the two. I really love that balance about fashion.
The irony is that we're really good at comedy in Britain, but for some reason, we make very few comedy films. And when we do, they're either quite American in style, or very Richard Curtis. And I like Richard Curtis, but I think only Richard Curtis should write Richard Curtis films, and other people should try and find their own style.
At one point I was introduced to a devastatingly handsome young man -- beautiful, really -- with black unruly hair, large sensitive eyes fringed by long dark lashes, a full sensuous mouth -- and an irresistible personality. His name was Tony Curtis.
I think we sent Tony Fucile pictures of ourselves, photos from like when we were seven years old. That's what he worked from. He captured exactly what we looked like. I'd love to do another one with Alison, not just for the joy of writing, but also for the joy of watching Tony bring it to life with his illustrations. I'm hoping at BEA, or ALA, I'll get to meet Tony and shake his hand and thank him.
The young, in their innocence, are often wise and capable of teaching the old.
[Her life with Tony Curtis in 1961:] We were beginning the climb to a higher plateau. Acceptance. Recognition. Status. Security. We only had to hold on and hope the thin air didn't make us dizzy and cause a tumble. We also needed to remember that the inside had to ascend together with the outside.
It's human nature to be curious about people, and to be more curious about young people than old people. We want to cheer something on at the same time we want to tear it down. That's just so normal.
It's very much a character-based play. Conor's writing is almost musical and paints pictures at the same time. It's a joy as an actor to be able to say the words. It's very conversational but at the same time, tells a story.
I was very good friends with Ian Curtis from Joy Division. In fact, I was the last person he spoke with before he died.
I would say that the West is very young, it's very corrupt. We're not very wise. And I think we're hopeful that there is a place that is ancient and wise and open and filled with light.
Of course I live in my time, and I'm really curious. But, at the same time, I don't think it has a direct impact on my work.
In their innocence, very young children know themselves to be light and love. If we will allow them, they can teach us to see ourselves the same way.
Our memory and the movies keep movie stars alive for us, and Tony Curtis is still a star.
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