A Quote by Juliette Lewis

I know what I'm doing. And I even know when I don't know what I'm doing. Then there are people who don't want to know that you know what you're doing. — © Juliette Lewis
I know what I'm doing. And I even know when I don't know what I'm doing. Then there are people who don't want to know that you know what you're doing.
If somebody's hacking you, you don't want them to know that you know. You want to find out what they're doing, how they're doing it, and then you'll let them know you know.
What we're doing is not just about becoming a model. It's bigger than that. It's shining a spotlight on folks who know who they are. They know what they want to do. And in terms of modeling, they're already working. They know what they're doing! They're fantastic!
I would much rather have somebody say, "You know what? I just didn't like what you were doing," then say, "They didn't know what they were doing." I know what I'm doing. If it's going to be bad, or if it's great, it's me, in either case.
This is another major feature of thought: Thought doesn't know it is doing something and then it struggles against it is doing. It doesn't want to know that it is doing it.
Pretending you know what you're doing is almost the same as knowing what you are doing, so just accept that you know what you're doing even if you don't and do it.
When you're doing comedy constantly, you're organized: you know where everything is, you know how to get out of it, you know how to stretch it. But, like, doing 'SNL,' I stopped doing spots, and then I would finally do some sets - it take me so long to, kind of, get in the rhythm of it.
Forget being the best of anything. That's the fruit of the action, and you do the work -they say- for the doing, not the fruit. You can never really know how it's gonna turn out in the world but you know if you enjoy doing it. And ideas start flowing and you start getting, you know, excited about stuff. Then you're having a great time in the doing and that's what it's all about. If you don't enjoy the doing, then do something else.
A lot of times, when doing the paranormal research and doing an investigation, you don't know what you're going to encounter. You don't know what you're going to come up against. People have to realize that we don't know them and they don't know us. I'm talking about the people that live in the homes. Sometimes you don't know what you're going to encounter, what type of situation you're going to walk into.
I keep working with fairly inexperienced directors. You know, if you have a good crew, a good cameraman, you know, I know what I'm doing. If the actors know what they're doing, we can all pull together, and it works.
Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
Most of the great practitioners of the art of acting know exactly what they're doing; even in the best, most successful moments, when they let go of the awareness of what they are doing, they still, somewhere deep inside their body, know what they're doing. There is a craft.
People don't know what they are doing most of the time. They don't know what they want. It's only in 'the movies' that they know what their problems are and have game plans to deal with them.
Put glibly: In science if you know what you are doing you should not be doing it. In engineering if you do not know what you are doing you should not be doing it. Of course, you seldom, if ever, see either pure state.
I have to tell you, a few people had very controversial feelings about what I was doing with Gucci at the beginning, and now, after a couple of years, they are changing their minds. I want to give journalists the time and space to know me and what I'm doing better. But it's not a priority for me. At the end of the day, I am not an artist; I am not doing a performance; I'm doing things that need to be sold. And I know my job.
If I know my showboating bothers you, I'll keep doing it. If playing with your mind is part of the arsenal, and I know it works, then I'm going to continue doing it.
If you really want to follow me and know what I'm doing, it's Instagram. You know which city I'm in and what I'm doing. It's almost in real time.
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