A Quote by Rachel House
With 'Woman Far Walking,' that was as good as it gets and I didn't want to do any more. It was satisfying but really exhausting and I didn't want to go back there any more. It was feeling like a 9-5 job and I didn't feel excited about it.
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If I feel love, I just want to feel more love. And if I feel a bit of peace, I want to feel more peace. But I don't really have any great ambitions. I feel very happy. I've got a lot of good friends. I just want it to be better and more of it, really.
We want box office success, critical acclaim, awards and everything else. But I think when the audience likes a film, that appreciation is far more fulfilling, far more satisfying than any award.
I would always choose the script. You get more creative control that way. But, when you're in a situation like this, where everyone is really funny and you really want to do it, that's the chance of a lifetime, so you want to do it. But, a script has longer legs than a performance and, in the end, is more satisfying. It's harder, but it's more satisfying.
People have asked if I would go back to my 20s, and I'm like, "Only if I could hold onto the wisdom and the things that I've learned." But in reality, I don't think I'd want to even go back then. I'm so happy with where I'm at. My life is very content. Everything feels really good. I wouldn't want to change any of that. I'm happy for all the ups and the downs, and everything that has led me to where I am. I wouldn't want to lose any of that.
As soon as you win the Cup, you don't want to lose that feeling. You want to win more than one. As soon as you taste it, it's kind of like a really good restaurant. You go there once, and you want to come back more than once because it's great.
There's nothing more fun than standing at the plate and hitting the ball really hard, see the ball go over the fence. It's really a satisfying feeling. It always makes you feel like you're doing your job.
When people say ceramics is therapeutic and seductive, I think it's really about the wheel. Nothing I've done has that feeling; I feel like I'm fighting with the material the whole time. It doesn't want to be vague. It doesn't want to be asymmetrical. It doesn't want to have different clays combined. It doesn't want to do any of the things I make it do.
I want to do movies, but I want to do something that's good. I don't want to make any more films until I feel that I'm ready for it. I want to have good work, and a very elegant life. I believe you get what you want.
I'm not a walking fleet of vanity vans any more than I'm a walking, talking multi-star cast. I might want an entourage, but so far, it is entirely eluding me.
I love feeling like I'm 'on the pulse' of things. Nothing more satisfying, more valued, more exciting as a writer. Because shaping pop culture really means that you're saying something that a lot of people want to hear.
A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.
Working out for me is something I do when I feel like it. But it's really about feeling good and taking care of my body rather than having to fit into any sort of model or anything like that. I try to eat well, and everything I do is really just to make me feel my best so that I can come to my job or my personal life and just feel really good.
I never want to feel complacent, and I had started to, a little bit. I had started to feel like "I have this thing I can do, it's worked a few times," but not only does that get boring, but you feel stagnant and unproductive. So I was feeling a lack of creativity and motivation, so I started making a more conscious choice to grow personally. It wasn't even an image-conscious thing, like, "I don't want people to think this way about me." It was really just a way to keep myself energized and feel excited about this thing I love doing. Like I went to couples therapy or something.
I don't like that feeling of holding back difficult questions. I feel like the more I can be transparent in the way I approach a story, the more it makes a satisfying programme.
I go into a gallery or museum, and I realize that I don't have to formulate any opinions if I don't want to. I don't have to think this thing through and write about it at any great length. I can think about it if I want to; if not, I can just walk out. So I can enjoy painting really a lot more than I could when I had that sort of pressure.
Who would you trust right now? Which bank would you trust? Which investment would you trust? Do you really want to put your money; do you want to suffer more of these losses that we just had? You know, these volatility that we see is just unexplainable by any rational standards. Nobody has any clue about how to explain this, and nobody wants to experience that. So, we hold more money back, we don't necessarily want to invest in the market and by default, people are saving more.
