A Quote by Taylor Jenkins Reid
I had moved across the country, taken internships, networked, worked long hours, and called in favors to get there. And I had done it. I was working in Hollywood. So imagine the melancholy I found myself in when I realized that I didn't love casting the way that I always thought I would.
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I moved to Hollywood when I was 22. I was married. I had a kid right away. And I had worked as a furniture mover amongst various other jobs, and I'd work eight, ten hours a day to support my family - and I'd come home and write for two hours a night or two and a half, or three hours a night.
I've worked with a lot of great glamorous girls in movies and the theater. And I'll admit, I've often thought it would be wonderful to be a femme fatale. But then I'd always come back to thinking that if they only had what I've had - a family, real love, an anchor - they would have been so much happier during all the hours when the marquees and the floodlights are dark.
I would have - I didn't really have to be an athlete. I could have been, you know - worked in fast food, been a janitor, anything. I would have had two or three jobs, working long hours, you know, to support myself and for my family in the future. I would have been successful.
In 2013, I dedicated myself full-time to combating the very real impacts of climate change. Working across the country, NextGen Climate Action formed new coalitions and worked hard to make climate change a part of our national conversation - and across the country, we had a big impact.
It's taken a long time but eventually when I had the songs in place and demos right and I found myself a manager, that's when everything started happening quickly but I think that's always the way it is.
Since I moved six or seven times the first year I was in New York, I had to be able to roll up the work, and paper would just get destroyed. Once I looked at what I'd done, I realized I had made a painting, sort of by default.
Do you suppose that I should have lived as long as I have if I had moved in the sphere of public life, and conducting myself in that sphere like an honorable man, had always upheld the cause of right, and conscientiously set this end above all other things? Not by a very long way, gentlemen; neither would any other man.
I moved to Los Angeles. My parents were not on board with that, and so I had to get a lot of different jobs. One of them was working for a man in Hollywood who had a weekly poker game.
What was happening was only the working-out of a process that had started years ago. The first step had been a secret, involuntary thought, the second had been the opening of the diary. He had moved from thoughts to words, and now from words to actions. The last step was something that would happen in the Ministry of Love. He had accepted it. The end was contained in the beginning.
When I first moved to Hollywood from Silicon Valley, I had some misgivings. But I found that there were some advantages to being in Hollywood. And, in fact, some advantages to owning your own media company. And I also found that Hollywood and Silicon Valley have a lot more in common than I would have dreamed.
I always wanted to be a writer. In the beginning, I thought I had to rewrite 'Gone with the Wind,' but eventually, I found my way and realized that wasn't me.
The scene I had just witnessed (a couple making love in the ocean) brought back a lot of memories – not of things I had done but of things I had failed to do, wasted hours and frustrated moments and opportunities forever lost because time had eaten so much of my life and I would never get it back. I envied Yeoman and felt sorry for myself at the same time, because I had seen him in a moment that made all my happiness seem dull.
My mother had been a country and western singer but when she moved out to Hollywood found it very difficult to get work so when I was born they put me into dance classes and singing classes as soon as I could walk actually.
She was tough in the best sense of the word. She'd taken blows, the disappointments, and had worked her way through them. Some people, he knew, would have buckled under, found a clutch, or given up. But she had carved a place for herself and made it work.
I always tried to imagine what it would be like to open your door to find something you had given up on. Maybe it had seen places you never had, been rerouted and passed through so many strange hands, but still somehow found its way back to you, all before the day even began.
I came from the time of so-called New Criticism - the poem in itself, the writing in itself - but around that time I had come across a critic called Kenneth Burke, who wrote a book called A Rhetoric of Motives, and it seemed to talk about another way, and gradually I realized that other way was that the reader made a difference.
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