A Quote by Jennifer Lopez
My hair and makeup people and stylists have changed over the years, but they all know sometimes I want to do Marilyn, and on another day I want to do Jackie O. Though sometimes I look back and have to say, "Wow! What were we thinking there?"
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Sometimes people look at television personalities and say, 'Wow, they've never had any problems.' And I really wanted people to know that hadn't been my path. I want people to know the real me underneath.
The hair and makeup is very important in a fashion picture. When I create a look for a girl, it starts with the makeup. Sometimes it takes an entire day to find the look.
When you look cakey, or you have too much on, and you actually see the makeup, the makeup isn't doing its job. When you use the makeup in a way where the people aren't thinking about the makeup, and they're looking at you, that's what we want.
One's relationship to time is complicated, and sometimes a day will drag on forever and sometimes it'll be over in a flash. When you look back, "I'm old," after 40 or 60 years, I can't believe I'm as old as I am.
In a relationship when things are really great you don't need to say anything and just enjoy the other person. Sometimes with a couple, it gets dark and you don't know what to say and that silence can last all day. Other times you don't want to stop talking because you don't want to lose one another.
I've hidden behind my hair more than clothes. Sometimes having long hair with a fringe is very useful when you don't want to look at people. I used to have very short hair, but long hair is my thing - a black nocturnal shield.
The first real thing was Divine as Jackie Kennedy [in Eat Your Makeup]. His mother found the bloody Jackie Kennedy outfit in the boot of his car and said, 'What is this?" and Divine said, "I am Jackie Kennedy!" His mother just changed the subject; she didn't know what to say.
But most of all, I like to watch people. Sometimes I ride the subway all day and look at them and listen to them. I just want to figure out who they are and what they want and where they are going. Sometimes I even go to Fun parks and ride in the jet cars when they race on the edge of town at midnight and the police don't care as long as they're insured. As long as everyone has ten thousand insurance everyone's happy. Sometimes I sneak around and listen in subways. Or I listen at soda fountains, and do you know what? People don't talk about anything.
I like to go after the foibles, basically of beliefs that are held without question. If people still want to believe in their stuff after that, that's great - as long as they just have a chance to step back and look at it for a second. Sometimes, you don't even realize what you've been thinking for 20 years.
Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.
I used to bug all of the comedians for interviews, and when people want to talk to me, sometimes I'm very receptive and sometimes I say no. Sometimes if I say no, I think, "If they're smart, they'll figure out how to not accept this no."
I find interesting characters or lessons that resonate with people and sometimes I write about them in the sports pages, sometimes I write them in a column, sometimes in a novel, sometimes a play or sometimes in nonfiction. But at the core I always say to myself, 'Is there a story here? Is this something people want to read?'
People sometimes think of 'queen' as a title that's shrouded with protocol and formality, and for that reason sometimes people are not easily saying what they want to say. They're reluctant to express their opinions, and I kind of find that frustrating because I want to know what people really, really think.
Most of the time, I don't want to use anti-climatic, but sometimes you go out there thinking this is going to be the worst thing you've ever gotten yourself into, and then you get back to base and think, 'Wow, that wasn't anything like I expected.'
I think every translator would tell you that when they look back at a poem they have translated, they want to pencil in changes. I know I do - though sometimes I also then remember all the reasons I made that choice in the first place.
Sometimes it takes a partner to say, "What is it you want?" because I think we operate in life and sometimes we don't know. We're all in some kind of maze going after the cheese at the end, and we get it and we go, "What is it that we want?"
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