A Quote by Sherilyn Fenn

I began to use my sensitivity. And I realized I wasn't weird because I cried a lot. — © Sherilyn Fenn
I began to use my sensitivity. And I realized I wasn't weird because I cried a lot.
I cried in English, I cried in french, I cried in all the languages, because tears are the same all around the world.
I cried over beauty, I cried over pain, and the other time I cried because I felt nothing. I can't help it. I'm just a cliché of myself.
And when he died, I suddenly realized I wasn't crying for him at all, but for the things he did. I cried because he would never do them again.
I used to think that anyone doing anything weird was weird. I suddenly realized that anyone doing anything weird wasn't weird at all and it was the people saying they were weird that were weird.
For me, noise is not something I use to shock, or because it's funny, or weird, or whatever. I use it because I find it beautiful.
When I realized that Reuben was a young man who really wanted to be taken seriously, because he was dismissed for being too good looking or because he had too much money - his character really came to life for me. I began to understand that, and see that a lot of people feel this way - misunderstood because of their talents or gifts or background.
When I was a baby, if I cried, my parents didn't give me a blanket. They gave me a ball and sent me to the little court in our backyard. I must have cried a lot because I was one of those kids who could dribble and shoot at 5 years old.
The first movie I ever cried at was when I was 10 years old and saw 'The Notebook' in theaters. I was like, 'Whoa, so weird. Crying at a movie? I'm not supposed to do that. So weird.' I didn't know that art could make you do that.
I've cried a lot because of women. I cry a lot, as a person.
I don't like real places, but I don't like imagined ones either. I feel like I'm looking for some mixture and it's very hard for me to say because I like to use real place names because there's an uncanny feeling to them, but at the same time I don't ever really try to make them plausible. Sometimes I like to use them as a way to hide in plain sight a little bit, because to me a very exotic or imagined setting has a lot of weight and a lot of burden to it, and it doesn't suit me, but a real place seems to have its own weird legacy, so I don't know what the choice is?
I realized that I really, almost by accident, had fallen into a labyrinthine, very powerful paradigm for dealing with these things through genre films. And once I realized that and realized the power of it, and the fact that because horror films aren't, in general, studio products - studios back them sometimes, but they don't try to meddle too much, because they kind of don't want to sully their skirts - you have a lot of freedom.
I will say a lot of dancers do such beautiful things for their body and then they smoke a cigarette. I've never been a smoker, but I realized after taking yoga . . . in ballet you're not encouraged to do a lot of breathing. I think in a weird way, a lot of dancers find relief in actually breathing.
My mother died when I was five, and all I did was sit and cry. I cried and cried and cried all day, until the neighbors went away.
I mean, I cried on my first red carpet. I literally walked off and cried because there were so many people and they were all taking pictures and I just felt overwhelmed because I'm a feeler and I'm sensitive.
Once I cried in a restaurant because the waitress told me I couldn't eat my soup with a fork, I had to use a spoon.
A lot of trouble about prayer would disappear if only we realized - really realized - that we go to pray not because we love prayer, but because we love God.
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