A Quote by Payal Rohatgi

Look, let's be honest. No one is interested in seeing me act. My bare arms, legs, front and back grab more attention than how I perform on screen. — © Payal Rohatgi
Look, let's be honest. No one is interested in seeing me act. My bare arms, legs, front and back grab more attention than how I perform on screen.
Look at me, he said to her. His arms and legs jerked. Look at me. You got your wish. I have learned how to love. And it’s a terrible thing. I’m broken. My heart is broken. Help me. The old woman turned and hobbled away. Come back, thought Edward. Fix me
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
I can only speak for myself but for me imagination and invention cannot generate something more important, more beautiful and more terrifying than the common object, amplified by the attention that we give it. An object alone, in front of me who is alone, exactly in front of me just as I would like to have in front of me someone who really interests me, in a good light to better observe it.
I'm a product of the 1970s, so I have a short attention span. You know, I grew up on cartoons and half-hour shows. So the stories that I'm interested in grab my attention very quickly, and they have to keep my attention.
Radar revs the engine as to say hustle, and we are running through the parking lot, Ben's robe flowing in the wind so that he looks vaguely like a dark wizard, except that his pale skinny legs are visible, and his arms hug plastic bags. I can see the back of Lacey's legs beneath her dress, her calves tight in midstride. I don't know how I look, but I know how I feel: Young. Goofy. Infinite.
There is more to marriage than four bare legs under a blanket.
Re-vision -- the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction - is for women more than a chapter in cultural history: it is an act of survival.
I think that people are interested seeing me on the screen.
It's a very difficult thing for people to accept, seeing women act out anger on the screen. We're more accustomed to seeing men expressing rage and women crying.
For whatever reason, it's easier to perform in front of a massive crowd than in front of a small one, but again, that's how we came up.
My uncle is an actor, my dad is a producer, so they asked me if I was interested, and I was like, 'How can someone act in front of so many people with lights and emote.'
How strange it is that people of honest feelings and sensibilty, who would not take advantage of a man born without arms or legs or eyes—how such people think nothing of abusing a man with low intelligence.
Among the many misdeeds of the British rule in India, history will look upon the Act depriving a whole nation of arms as the blackest. If we want the Arms Act to be repealed, if we want to learn the use of arms, here is a golden opportunity. If the middle classes render voluntary help to Government in the hour of its trial, distrust will disappear, and the ban on possessing arms will be withdrawn.
We stood back-to-back, blocking and striking in harmony; sometimes it felt like his arms and legs were an extension of me. I could count on him to keep them off me from behind.
Is God a man with two arms and legs like me? Does He have eyes, a head? Does He have bowels? Well I do, and that makes me more wonderful than He is!
How come we've got these bodies? They are frail supports for what we feel. There are times I get so hemmed in by my arms and legs I look forward to getting past them. As though death will set me free like a traveling cloud... I'll be out there as a piece of the endless body of the world feeling pleasures so much larger than skin and bones and blood.
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