A Quote by Terry Farrell

I wanted to be like Vivien Leigh in 'Gone With the Wind.' I wanted to have black hair, green eyes and break hearts. — © Terry Farrell
I wanted to be like Vivien Leigh in 'Gone With the Wind.' I wanted to have black hair, green eyes and break hearts.
She was obsessed with French and Swedish cinema. I also remember our mother showing us 'Gone With the Wind' very early on. She absolutely loved Vivien Leigh, so it must have been a formative experience for me, thinking, 'Oh, maybe one day I'll be like Vivien Leigh.'
We all wanted to copy Vivien Leigh.
To have a childhood surrounded by people like Sir Laurence Olivier and Vivien Leigh sounds glitzy, but for years I wanted to repress it. I couldn't take that kind of power and success.
People don't realize it hurts my feelings when someone looks at my hair or my eyes, and says, 'But you're not actually black. You're black, but you're not black black, because your eyes are green.' I'm like, 'What? No, no, I'm definitely black.' Even some of my closest friends have said that. It's been a bit touchy for me.
There's this black and green hair style I did one time. And it was literally inspired by my neighbor taking out their green recycling bins in a black outfit. I just loved the color combination, and I was like, Oh, I want black and green hair now.
I wanted green in my hair, so I did green. And I got my sunflowers to match. I've never done it before. Just said, 'OK, I'm doing my hair green.'
I like having black hair. When I was really young, I wanted to be Asian - Asian hair is beautiful. I also wanted to look like the girl in George Michael's 'Father Figure' video.
My mom is Jamaican and Chinese, and my dad is Polish and African American, so I'm pretty mixed. My nickname in high school was United Nations. I was fine with it, even though I identify as a black woman. People don't realize it hurts my feelings when someone looks at my hair or my eyes, and says, "But you're not actually black. You're black, but you're not black black, because your eyes are green." I'm like, "What? No, no, I'm definitely black." Even some of my closest friends have said that. It's been a bit touchy for me.
Being a black filmmaker, one of the things I wanted to do with the movie is make sure I told it from a different perspective. I wanted to take myself out of it as a black male. I wanted to look at this movie through the eyes of Tully, to understand what he was thinking, and feel what he was feeling as much as I could.
I was approached by this guy Chris Renshaw, who had read my book and had read Leigh's book. He wanted to incorporate both characters - he probably felt Leigh wasn't famous enough and he realized Leigh [Bowery] and I were associated.
At the age of seven, I wanted a doll with blonde hair and blue eyes like other girls in my class. But my father gave me a black doll and said 'black is beautiful.' Telling this to a seven-year-old was quite peculiar, but these were the values we inherited from him.
I wanted to work with Mike Leigh. I had my list of British people I wanted to work with, and I wanted to work with David Lynch and Woody Allen.
We had to break up, though. We wanted different things - like he wanted kids and I wanted him to hear.
I started getting tattoos, and the hair would grow back out and grow over a nice piece of artwork that I really wanted to show, and it just became one of those things. I can't stand the hair on my body. I just wanted it gone. It's just a better feeling for me.
If only Vivien Leigh had stayed in England, that part would have been mine.
You look at Gone With the Wind, how right Vivian Leigh was for that. Don't know if that would happen today.
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