Long Quotes - Page 531

I long for the old days of Marilyn Monroe and Audrey Hepburn, stars who had real glamour and mystique. We only knew so much about their lives; the rest was a mystery.

She reaches up and pulls my face to her and kisses me, her soft lips on mine. I don't want her to stop kissing me. As long as she is, then everything is fine. Everything is right, I would stay in this room forever if I could. The world can pass by without me, without us. Just as long as we can stay here, together, in each other's arms.

No one, and nothing, will ever hurt you as long as I'm alive.

I've been waiting a long to to meet you

You lie long enough and you start to get used to it.

In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.

When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.

When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.

A lifetime is more than sufficiently long for people to get what there is of it wrong.

You don't just find an empty museum and say, "I should do something here." I was looking for another kind of venue or exhibition format. I was trying to find a site where something could happen over a long period of time - something that could slowly transform itself and the place as it went. And I was also trying to stand out of the art-world system. Strangely enough, I stumbled on vacant museum.

Sir, what does it matter whom I serve, so long as I am right?

America gave me the great glory of coming into people's homes every week and allowed me to last as long as I have.

He [Dalai Lama] feels, and I feel, and everyone feels the suffering and frustration of the Tibetans who long for action, who long for a militant response. But, in some ways very few of those individuals have ever been in the position of being head of state.

I'm one Pia Zadora, the same way all the time. That's why I'm happy. It took me a long time to get to the point where could be myself all the time.

I had basically the same stigma that Bo Derek did -- being created by a Svengali -- which took me a long time to overcome.

Love or perish" we are told and we tell ourselves. The phrase is true enough so long as we do not interpret it as "Mingle or be a failure.

It does not matter whether one is at the giving or receiving end of love just as long as one is part of the process in some way. It is only when we become disconnected from the process altogether that we should begin to worry.

it is better in the long run to be cheated than to cheat. I have learned that there is no middle way.

I just love any kind of language that can change the energy in a room. There are no limits for me, as long as it feels like it's being used in a particular way to garner or elicit a very particular reaction, so that you can then use that reaction later for something else. But when it's gratuitous language or physical exposure, then I get a bit like, "Oh! Put it away!"

Underground comics were produced by individuals - they were the auteur variety, rather than the production-line sort of comic book aimed at pleasing a vast general audience. Mainstream comics never appealed to me: they seemed sterile in their stylistic consistency, and were quickly consumed, the stories interesting only for so long as you were reading them.

A character does seem to have a life of its own, but I have what I'd describe as a very fluid relationship with them - as I'm thinking of what they will be like, they shift in and out of focus - they are a projection of some idea inside of me, even if a character is inspired by an actual person, I'm well aware that it is not that person. My job is to identify the essence of the character, and to bring them to life long enough to commit the acts, say the words or simply "be" in a way that allows them to affect and be affected by other elements and events in the imaginary world of a story.

I'd describe my inner life as constantly vigilant, always ready to flee or respond with violence. I've felt this way since I was a small child. Although it's often quite amusing, it's exhausting at times to live with myself, and when I'm tired and overwhelmed, I do become very depressed. If I'm unable to work for too long, I start questioning my purpose on this earth and whether or not I deserve to live. When I look at other people, I get the sense that they live with themselves much more gracefully.

There is some humor in Monsieur Lazhar and in all my other films, but this one I'll try to make a real comedy from start to finish. It's called Prescott Etc. because the name of the constituency is so long that everybody in the constituency just says Prescott Etc. I don't know if that's what it will be. It's a working title.

When I want to tackle a story or a subject, I always ask myself three questions: Is it important to talk about that? Will it interest other people than just me? Can I live with that for three or four years because that's how long it takes to do the project, to write the script, and to direct it, and then to do this.

As a writer, I play with words all day long. I toy with them, listen for their overtones, crack them open, and try to stuff my thoughts inside.