A Quote by Varun Tej
I have had people telling me that they liked my screen presence and my voice, so I guess that's my strength.
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I nodded. I liked Augustus Waters. I really, really, really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially fraught free throws. I liked that he was a tenured professor in the Department of Slightly Crooked Smiles with a dual appointment in the Department of Having a Voice That Made My Skin Feel More Like Skin. And I liked that he had two names. I’ve always liked people with two names, because you get to make up your mind what you call them: Gus or Augustus? Me, I was always just Hazel, univalent Hazel.
A little voice keeps telling me an Aston Martin really isn't me, but a louder voice is telling me that, as an England international playing for Liverpool, the old rules no longer apply.
I knew that Jaye Davidson would not last because of that. I really liked him and thought he had incredible screen presence and talent, but I knew that he would not stay in that profession.
One night I was standing on Third Avenue playing my guitar, when this big Irish policeman came strolling by, and stopped to listen to my singing and playing. When I was done, he politely handed me a ticket for disturbing the peace, while at the same time telling me how much he liked my voice. I wish I still had that ticket.
In fiction the narrator is a performance of voice, and it can be any style of voice, but I'm interested in the ways that a voice that knows it's telling a story is actually telling a different story than it intends to. In the way that I can sit here and tell you what I had for breakfast, but I'm really telling you that I'm having an affair, something like that. And I don't think my writing is plain, but I think a lot of my characters are just talking. There is vulnerability there, in that we can start to see through them, we can start to see where they're deceiving themselves.
What scares me the most is that both the poker bot and Dropbox started out as distractions. That little voice in my head was telling me where to go, and the whole time I was telling it to shut up so I could get back to work. Sometimes that little voice knows best.
Previously, someone would interview me, and if they liked me, it'd be a great story. If they hated me, it'd be a horrible story. I had no way to say anything. Social media changed things for people who didn't have a voice.
I really don't want to produce artwork that does not have meaning beyond simple decorative values. I want to use public space to create a public voice, and a public consciousness about the presence of people who are, in fact, the majority of the population but who are not represented in any visual way. By telling their stories we are giving voice to the voiceless and visualizing the whole of the American story.
I liked Bollywood a lot growing up; I just liked the idea of seeing people that looked like me on a big screen, that alone just does so much for confidence. I'm a super visual person, I need to see something before I do it.
'Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.
Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.
I guess at that moment in time I had a certain... presence? A certain level of presence in the industry. But that was at Madonna's request. There was a concept for the video ["Material Girl"], and the idea was that it was kind of a Howard Hughes and Marilyn Monroe sort of idea, that there was this guy behind the scenes making it all happen. And she saw me as that guy, so she asked for me.
There is a still small voice telling us what is right, and if we listen to that still small voice we shall grow and increase in strength and power, in testimony and in ability not only to live the gospel but to inspire others to do so.
Initially, it connected with me when I was a kid, seeing a lot of movies while growing up in Los Angeles. And Sam's [Fuller] pictures are an expression of such a distinct voice that he was one of those filmmakers who made me aware that there was, in fact, a real presence behind the camera that was telling the story, as opposed to actors just presenting it.
No one had ever told me that whites were supposed to sing one kind of music and blacks another - I sang what I liked in the only voice I had.
Pretty That's what I am, I guess. I mean, people have been telling me that's what I am since I was two. Maybe younger. Pretty as a picture. (Who wants to be a cliché?) Pretty as an angel. (Can you see them?) Pretty as a butterfly. (But isn't that really just a glam bug?) Cliché, invisible, or insectlike, I grew up knowing I was pretty and believing everything good about me had to do with how I looked. The mirror was my best friend. Until it started telling me I wasn't really pretty enough.
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