A Quote by Sara Shepard

That was the thing about guys, though: Sometimes, they had the emotional depth of a flea. — © Sara Shepard
That was the thing about guys, though: Sometimes, they had the emotional depth of a flea.
I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.
With manga, in my art style, I don't do much in the way of techniques to create depth. But even though I don't do depth techniques through my art, I am conscious of depth itself.
The other week I wrote a piece on a photograph I got at a flea market, and I got about 70 hits. I think a lot of people must be interested in flea markets.
When you think about the guys who started Twitter, and the Google guys, and the Facebook guys and the Napster guys, and the Microsoft guys, and the Dell guys and the Instagram guys, it's all guys. The girls, they're being left behind.
If four or five guys tell you that you're drunk, even though you know you haven't had a thing to drink, the least you can do is to lie down a little while.
I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.
Guys that are young in the league. Guys that you get to teach them your way. It's not a bad thing. It's actually a good thing. It's working for them. Teach them that way, and I guarantee they aren't as stubborn and hard-headed as I was, which sometimes is good, sometimes is bad. But like I always say, I'm not going to change who I am.
I wouldn't hurt a flea. I'd finger a spider though.
That was how it was, sometimes. You put yourself in front of the thing and waited for whatever was going to happen and that was all. It scared you and it didn't matter. You stood and faced it. There was no outwitting anything. When Almondine had been playful, she had been playful in the face of that knowledge, as defiant as before the rabid thing. Sometimes you looked the thing in the eye and it turned away. Sometimes it didn't.
I think I've had very knee-jerk emotional reactions to things, and sometimes I've said things without thinking. Being overly emotional clouded my judgment.
The flea, though he kill none, he does all the harm he can.
In 1977, I had Paul Rivera hotrod six Fender Deluxes for me. At that time, a lot of studio guys in L.A. were using those - not so much live guys but studio guys. They had terrific tone and great technique, and I was like, 'Well, I like having terrific tone even though I don't have any technique.'
There are things that directors know about me that people shouldn't know. But everyone's really different. I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.
Some things, I feel like no, I never could have the depth of experience of their own music and culture - but sometimes if I'm collaborating with somebody, they're interested in me bringing my own stuff into their thing, and sometimes that works.
Everyone's really different. I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.
I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.
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