A Quote by Samantha Harvey
I'm just fascinated by the past. You know, both by the possibilities it holds and by the complete tyranny of it, the way it sort of keeps you in this stranglehold and makes you want things that you no longer have and you can never get back.
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I always go back and do theater. I love it. It keeps an actor improving in a way, it sort of keeps your craft alive, if that makes sense.
Salinger is such a terrific writer; he did so many great things. He is one of those writers that I still reread, simply because he makes me see the possibilities and makes me feel like writing. There are certain writers who put you in the mood to write. In the way a whiff of a cigar will bring back memories of a ballgame on a Saturday afternoon, reading Salinger makes me want to get to the typewriter.
The Crucible became by far my most frequently produced play, both abroad and at home. Its meaning is somewhat different in different places and moments. I can almost tell what the political situation in a country is when the play is suddenly a hit there it is either a warning of tyranny on the way or a reminder of tyranny just past.
I feel that heterosexual marriage is the more excellent way, and it surely is approved holy by the Holy Bible, and it holds so many more possibilities: the possibilities of having children of both the mother and father, the male and the female.
I graduated from high school at 165 pounds, so twice a year, I get back to that number - I never let it get to 172-73. Then I go back to doubling the cardio. This week, I'm on a complete liquid diet, a juice fast. It keeps me lean and hungry.
Whether you want to lose 20 pounds or 200, what the contestants on 'The Biggest Loser' have learned - and taught me - holds true: You've got to make a break. You've got to divorce yourself from the past and find a different way of living. And you can never go back.
I am grateful that I didn't let fear get the best of me. It only holds you back from possibilities and greatness.
What do you want? "To know you," she said without hesitation. "All of you. I want to know what makes you feel good." "Your laughter," he said without hesitation. "Feeling your hands on me. The way you look at me, whether I've been a complete dumbass, or just made you come-" With a laugh, she ducked her head, but he dipped his down until she was looking at him again. "You want to know what scared me?" he asked. "Yes" He leaned even closer and slid a hand to the nape of her neck. "The thought of never having those things with you again." -Chloe and Sawyer (Head over Heels)
It's an empirical question whether training makes one more or less likely to get in a fight outside the gym. In some ways, I'm probably more likely to get into a fight, because I feel more competent, and I know what it's cost me in the past to back down from fights, and I don't want to feel that way.
We never really know what we want until after we get it. If after we get it, it makes life more miserable, we know that isn't what we wanted. If it makes our life wonderful, we know this is a strategy which will meet out need. That's why Paul Tillich, the theologian says we need to sin courageously. You ask for what you want, hoping to meet your needs. If you get it and it makes life worse, you learn that this isn't what I want.
Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that's just me) as if you've never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you'll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.
I would not like to live in the past because you don't get anesthetic when you go to the dentist. You don't get antibiotics. You don't get the things that you are used to now, cell phones and televisions and things that are very convenient. You don't want that. But, it would be fun if you could, every now and then, just meet a friend for lunch at Maxim's in Paris in 1900, or go back to 1870 just for a couple of hours, take a walk in the park, and then come right back to Broadway.
You just try to get the best jobs that you can get. Sometimes I produce my own movies, so that's your own sort of vision. That helps things. I don't know what it is. Probably just circumstance. I've definitely been aware of the fact that I want to do different things.
I like people to be surprised by the turn of events. I don't want things just to be pat and formulaic. If there's some sort of internal combustion in the character or a desire to change the way things are going, that makes for conflict, which is the essence of drama.
We're all so clogged with dead ideas passed from generation to generation that even the best of us don't know the way out We invented the Revolution but we don't know how to run it Look everyone wants to keep something from the past a souvenir of the old regime This man decides to keep a painting This one keeps his mistress He [ pointing ] keeps his garden He [ pointing ] keeps his estate He keeps his country house He keeps his factories This man couldn't part with his shipyards This one kept his army and that one keeps his king
I feel when acting, I am sometimes overly self-conscious; I think, 'Going, no, don't, put your eyebrow back where it was and, you know, turn to the left.' You know, I'm sort of very consciously adopting this character. But with music, I don't know. I found it was a question of just closing my eyes and just sort of letting things come out.
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