A Quote by Sean Hepburn Ferrer
She lost a couple of pregnancies before me. It was sort of this great healing for her to finally have a child.
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As Anna Freud remarked, the toddler who wanders off into some other aisle, feels lost, and screams anxiously for his mother neversays "I got lost," but accusingly says "You lost me!" It is a rare mother who agrees that she lost him! she expects her child to stay with her; in her experience it is the child who has lost track of the mother, while in the child's experience it is the mother who has lost track of him. Each view is entirely correct from the perspective of the individual who holds it .
When a woman feels the first grip of her child's dependence upon her, she has forever lost her freedom. If the child dies, a grave shackles her soul through life. If the child lives, the welfare of that child keeps perpetually between her and the sun.
My mother didn't feel sorry for herself, she was left with no child support, no alimony at a very young age, with a child to raise, a high school education and she just figured it out. She didn't complain, she didn't rely upon government, she relied upon her own skill set, her own self confidence, her own drive in moxie and her own duty to me and her and she relied upon her family and her faith.
What I love about Gaga is her story, where she came from. Before she made it, before anyone knew who she was, I knew who she was and, to see her finally make it, I was so happy. If we were to work together that would be cool.
She is never alone when she has Her Books. Books, to her, are Friends. Give her Shakespeare or Jane Austen, Meredith or Hardy, and she is Lost - lost in a world of her own. She sleeps so little that most of her nights are spent reading.
Chloë Moretz as Carrie has an inherent amount of charisma, the camera loves her, she's been acting since she's five, she's a total pro, she knows her instrument. I took her on this phenomenal journey from a confident child star who has the great privileges of a family who loves her, great success, and huge confidence, to a wounded woman who had to gain her confidence back and desperately wanted love and acceptance.
She laughs and looks out the window and I think for a minute that she's going to start to cry. I'm standing by the door and I look over at the Elvis Costello poster, at his eyes, watching her, watching us, and I try to get her away from it, so I tell her to come over here, sit down, and she thinks I want to hug her or something and she comes over to me and puts her arms around my back and says something like 'I think we've all lost some sort of feeling.
I was lost before I found her in my dreams, and she found me that day in the rain. I knew it seemed like I was always the one trying to save Lena, but the truth was she had saved me, and I wasn't ready for her to stop now.
I developed more as an actor in the course of 'Lost' than I had in any period in my career before because they trusted me and allowed me to use the tools that I finally brought out. And quite honestly, it's only been since 'Lost' that I've had any sort of financial stability.
When a homemaking aunt scolds a niece for following her evangelistic passion instead of domestic pursuits, her reply is interesting. First, she clarifies that God's individual call on her doesn't condemn those in more conventional roles. Then, she says she can no more ignore the cry of the lost than her aunt can the cry of her child.
When we were arguing on my twenty-fourth birthday, she left the kitchen, came back with a pistol, and fired it at me five times from right across the table. But she missed. It wasn't my life she was after. It was more. She wanted to eat my heart and be lost in the desert with what she'd done, she wanted to fall on her knees and give birth from it, she wanted to hurt me as only a child can be hurt by its mother.
She can kill with a smile. She can wound with her eyes. She can ruin your faith with her casual lies. And she only reveals what she wants you to see. She hides like a child, but she's always a woman to me.
I saw what I had been fighting for: It was for me, a scared child, who had run away a long time ago to what I had imagined was a safer place. And hiding in this place, behind my invisible barriers, I knew what lay on the other side: Her side attacks. Her secret weapons. Her uncanny ability to find my weakest spots. But in the brief instant that I had peered over the barriers I could finally see what was finally there: an old woman, a wok for her armor, a knitting needle for her sword, getting a little crabby as she waited patiently for her daughter to invite her in.
She bent her finger and then straightened it. The mystery was in the instant before it moved, the dividing moment between not moving and moving, when her intention took effect. It was like a wave breaking. If she could only find herself at the crest, she thought, she might find the secret of herself, that part of her that was really in charge. She brought her forefinger closer to her face and stared at it, urging it to move. It remained still because she was pretending... . And when she did crook it finally, the action seemed to start in the finger itself, not in some part of her mind.
The idea is that Jodie Foster is with her child and she's going back to New York from Germany with her husband's body. She loses her child on a plane, and you think, 'How can that happen?' There's no record of her having brought a child onto the plane, and the captain is left wondering about whether she's telling the truth. You never really know if she's telling the truth or not.
She wanted to eat my heart and be lost in the desert with what she'd done, she wanted to fall on her knees and give birth from it, she wanted to hurt me as only a child can be hurt by its mother.
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