A Quote by Victoria Beckham

When I started out in fashion, everything had to be very structured and tight and controlling, and now I'm getting to a point where I think - I could wear a great big parka, that could be quite fabulous. I haven't always got to show off my size, show off my shape. It's a turning point for me.
And the joys I've felt have not always been joyous. I could have lived differently. When I was your age, my grandfather bought me a ruby bracelet. It as too big for me an would slide up and down my arm. It was almost a necklace. He later told me that he had asked the jeweler make that way. Its size was supposed to be a symbol of his love. More rubies, more love. But I could not wear it comfortably. I could not wear it at all. So here is the point of everything I have been trying to say. IF I were to give a bracelet to you, now, I would measure your wrist twice
Some bruises you wear like badges of honour: when you got it playing rugby, or quad racing, or falling off something while drunk, no opportunity is lost to show off a good contusion. A bruise inflicted by someone else, however, is a whole other story: it's like a big flashing arrow marking you out as punchable, and before long there'll be boys queuing up to add bruises of their own, as if they'd just been waiting for somebody to show them it could be done.
If the point of an activity is to be relaxing, changing that point to money isn't a great idea. Then you have to show up for it differently, and that can take the fun out of it, absolutely. I'm a big fan of turning your hobbies into businesses, but not if it's the hobby you do to relax and unplug.
I get a lot of Tweets from fans of 'The Great British Bake Off' asking me questions about different recipes or baking techniques, and I do enjoying getting back to people whenever I can. But as soon as I get home, I always make a point of turning my phone off, as I think it is really important to be able to unwind at the end of the day.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
I got to show off in front of my husband, who married me as I was stepping out of the business, so he had no idea that I could strut my stuff on the stage.
The reason I quit fashion was that I had had enough of spending time always being on my knees, making other people look amazing and fabulous. I used fashion to express myself as much as I could. But at some point it was not enough
My dreams are always quite attainable, I wouldn't like to spend a lot of money on a car. I've got a mental block about splurging on something so visible like that. I could do it on a watch or something because that's quite personal and it isn't something that's on show all the time, but with a car everyone thinks you're a show-off. But one thing I would really like is a Ford Mustang - for me, that's the attainable dream. You look at it and you just think "F*** yes!" - you can hear an electric guitar solo playing in your head!
When I first started out on the soap, I was more theatrical, like a stage actor, a little bigger than life. As I did more and more Love Of Life, I became more natural. I learned the value of underplaying. It was a great training ground for me. There was a big difference in my style of acting from where I started with that show and where I ended, and where I ended was a good jumping-off point for doing nighttime television and movies.
I got an email from Nick [Kroll] that he and John [Mulaney] were looking to put on the stage show with two of their characters from Kroll Show and could I help at all. And they were doing it [off-Broadway] at the Cherry Lane and they had been performing it at UCB, just sort of testing it out. I worked on it for a little bit downtown and it was a great experience.
With 'Sons of Anarchy,' I had to leave a couple of times - I got another show, and I had a baby - so they sent me off to rehab. If I hadn't left, they probably would've killed me off by now.
I can't say it was challenging for me to shake the image of Frasier. I've been fortunate to have had a very interesting career since the series ended. I think the turning point for me was the show, 'Boss.'
The turning point in my career was Jaws. It was a turning point because I was a director-for-hire before Jaws and because it was such a big hit I could do any movie I wanted and Hollywood just wrote me a cheque.
My goal when I started out was to get to the point where I could tour a lot and make a living, which means getting paid enough to hire my own band, travel and end up with a bit of money, but I'm still nowhere near that point. Because I didn't have a band and fan base when I started, I did everything backward.
I wanted to learn everything I could about what it takes to be a great chef. It was a turning point for me.
I wear my musical heart on my sleeve and show all my influences off. I'm happy for someone to point out that my song sounds like someone else's.
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