A Quote by Patricia Arquette

When I was tiny, I was a real observer of human behaviour, and I knew I wanted to tell the human story, but I felt shy and unattractive and awkward. — © Patricia Arquette
When I was tiny, I was a real observer of human behaviour, and I knew I wanted to tell the human story, but I felt shy and unattractive and awkward.
I knew what I wanted to do when I set out. I knew that I wanted to write a book that told the story, obviously. I wanted it be comedy first, because I felt like there already had been childhood druggy stories that were very serious, and I felt that the unique thing here was that I was a comic and I could tell the story with some levity, and I have been laughing at these stories my whole life.
The real question today is not when human life begins, but, what is the value of human life? The abortionist who reassembles the arms and legs of a tiny baby to make sure all its parts have been torn from its mother's body can hardly doubt whether it is a human being. The real question for him and for all of us is whether that tiny human life has a God-given right to be protected by the law - the same right we have.
What we wanted to do was tell a story that felt relatable to anyone who's been a teenager. We haven't all been a second-generation Pakistani-American girl with superpowers, but we've all been 16 and awkward.
Prison opened my eyes to so many things. It was a great time. I met interesting people. I got to understand the behaviour of the police and the media. I am an observer of the human race.
You have to know human behaviour … And the quality of your writing is absolutely capped at your understanding of human behaviour. You’ll never write above what you know about people.
You know, Vik, you’re amazingly human at times. (Alix) I know. But I wonder if the feelings I have are real or just electrical stimulations in my cortex that simulate human emotion. I wish I knew if they were real or imagined. (Vik) And that makes you completely human, sweetie. We all have those doubts. (Alix)
'An Education' was a complicated piece of work because it came from a tiny essay, so it took me a while to find the story I wanted to tell and the characters I wanted to tell it about. That really only emerged after four or five drafts.
For one work we developed a human hair felt, which involved collecting and sorting hundreds of kilos of human hair, and then blending it will a tiny percentage of black merino followed by carding and felting.
My job is to portray real human beings and real human experiences, and if I haven't had a real human experience myself outside of the film industry, how am I going to be able to do that?
I'm simply trying to tell the truth about human behaviour as I see it.
Each time I told my story, I lost a bit, the smallest drop of pain. It was that day that I knew I wanted to tell the story of my family. Because horror on Earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.
Eleanor Roosevelt was painfully shy, painfully shy. So she overcompensated. In the same way that Nancy Reagan felt unattractive and unlovable and so everything had to be - hair had to be perfect, and the makeup and the clothes. Because she thought, "They don't think I'm pretty."
The fundamental human values all emanate from Dharma, based on Truth. If human behaviour has no such basis, it leads to disaster.
I never felt comfortable with myself, because I was never part of the majority. I always felt awkward and shy and on the outside of the momentum of my friends' lives.
The fact of storytelling hints at a fundamental human unease, hints at human imperfection. Where there is perfection there is no story to tell.
Every field piece I did on 'The Daily Show' was a story that lasted five to six minutes. We had a protagonist, we had an antagonist and often put them at odds. We knew the story we wanted to tell before we went in, and often it was about plugging whatever character you have - in this case, a real person - into said part.
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