A Quote by Vivien Leigh
When I was at school at Paris, I had special lessons from Mademoiselle Antoine, an actress at the Comedie Francaise, and I was taken to every sort of play. I felt very grand.
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I come from a family of actors. My grandfather was like a Laurence Olivier with the Comedie Francaise. Since I was four I went every week to the Comedie Francaise. My aunt and grandmother were there, but my grandfather was a big star.
I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.
I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow, there's something special about living as an Englishwoman in Paris.
I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow there's something special about living as an Englishwoman in Paris.
I just started as a part of the public school music program. I took lessons at the school every Friday and was a part of the school band. I was just a normal kid taking instrumental lessons at school, nothing special.
I started formal piano training when I was 4. From there I had little violas, and I had dancing lessons of every sort and description, and painting lessons. I had German. And shorthand.
I'd been influenced by reading books on art and colonies that existed in Paris and places like that and so when I came to Europe I came to France and I had very little money, and I had to live low and stayed in a bohemian section of Paris with a lot of other students, who were from medical school, science school and art school. We all lived in a kind of communal way and I was challenged politically, because I didn't have a clue and they would ask me questions about the Algerian War, which was very big in France in the late '50s.
. . . this rage - I have never forgotten it - contained every anger, every revolt I had ever felt in my life - the way I felt when I saw the black dog hunted, the way I felt when I watched old Uncle Henry taken away to the almshouse, the way I felt whenever I had seen people or animals hurt for the pleasure or profit of others.
I was taken to my first fashion show - Nina Ricci haute couture - in Paris by the White Russian princess, down on her luck, whom I was boarding with in Paris in 1963. I was captivated by the glamour of the gilded salon, the elegant clothes, and the audience of grand ladies.
I decided to be an actress, and the day after, I was an actress. That was quick and very scary at the same time. When 'Obscure Object of Desire' came out in France, I felt guilty for my friends at the National School who weren't in the movies. The whole thing was turmoil.
My middle name really is perseverance. I've always believed that I had talent, even when I felt like a very inferior sort of person, which I spent a lot of time living my life feeling that I wasn't worthy. But even then I knew that I had something special, and maybe that's what it takes. Maybe people need to have that kind of particular core driving them. But I felt I had talent.
I was in special ed, but I felt like I was a caged bird. I felt like I could do better. I made sure I mastered my special ed lessons. I made sure I listened to my teacher. I made sure I did my homework, but I had to do a little extra.
In our system, grand juries take every charge, every lie, and they try to sort the truth from the lies, and then they move forward into the system. And that's how the system ought to work. We should respect the secrecy of the grand jury so they can sort through what's true and what's not. And someone is leaking, and if they are leaking from the grand jury investigation, then that's a violation of the law.
I did not go to fashion school. I arrived in New York in 1986 from Kansas City and was working as accessories editor for Mademoiselle Magazine. While working at Mademoiselle I noticed that the market lacked stylish and sensible handbags, so I decided to create my own.
I'm proud of Larry Sanders and proud of every single person who went on that journey. It's a very special show to me, and I've learned a lot of lessons from it. I need to find something where I can learn some more lessons, and then I'll do that project.
I grew up in the Fifties, and the majority of people in my class had fathers living at home. I was very aware that I was in the minority. I had a foreign name, and my daddy didn't come and pick me up from school. I felt like an outsider, which probably helped me as an actress.
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