Christian Louboutin Quotes
I never wanted to work in fashion. At age 12 or 13, I wanted to design for showgirls - for the theater! And I was crazy for the Hollywood of the 1950s: Dietrich, Elizabeth Taylor, Jennifer Jones. They were my idea of glamour - and Sylvie Vartan, the French singer.
Quotes to Explore
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In general, I find that for videos the acting is more realistic.
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Sometimes there's a snobbery among literary types that these people don't really get it, but in a lot of ways they get it more than the literati. There's a culture in the background that they understand and know. They get that deeper level.
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My father was a factory worker, and we were really poor. But everything I earned peddling papers and working in stores, he made me put aside for education.
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This is what people need: an easy-to-deploy, easy-to-use tool.
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I'm working on my new album right now. Hopefully to get that out at the top of 2005, January 2005.
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I can go to a country song, go right into it and make it sound authentic. And I think that's because of my ear as an impressionist.
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The two most common elements in the universe are hydrogen and stupidity.
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I have this really high priority on happiness and finding something to be happy about.
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I have always considered it as treason against the great republic of human nature, to make any man's virtues the means of deceiving him.
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It has always been a dream of mine to put a play on film.
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Many men start being friendly with women because they are trying to seduce them. I'm not trying to seduce them. I just like hanging out with them.
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Corporate nationalism to me is a little bit like what would have happened if Hitler had won. It's scary stuff. It's totalitarianism in a different from, under a different flavour.
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Let me tell you, my career went from zero to 900. Its hard keeping up with that pace, but I wouldn't trade it for anything else in the world.
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Of course, I grew up hearing Latin music but, to be honest, aside from my personal circumstances, like most kids I wanted to rebel against what I considered to be such old fashioned fare.
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My work always presents problems in our society. Those problems may be anything from injustice to freedom, and everything related to humanity.
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Ultimately life is disease, death and oblivion. It's still better than high school.
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If I had a spreadsheet on my computer, it looked like I was busy.
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Everything has its own kind of theatricality and its own drama.
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It was a bit unimaginable when I began that I'd ever get to 25 books. But it was also unimaginable how much crime-writing would have changed.
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The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.
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The criminal justice system, like any system designed by human beings, clearly has its flaws.
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The pressure on the engineering community at that time was to prove they could design buildings that wouldn't be damaged by earthquakes. We are still doing that.
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Mama took me in her arms and held me tight. Her embrace was hot and she smelled like sweat, dust, and grease, but I wanted her. I wanted to crawl inside her mind to find that place that let her smile and sing through the worst dust storms. If I had to be crazy, I wanted my mama's kind of crazy, because she was never afraid.
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I never wanted to work in fashion. At age 12 or 13, I wanted to design for showgirls - for the theater! And I was crazy for the Hollywood of the 1950s: Dietrich, Elizabeth Taylor, Jennifer Jones. They were my idea of glamour - and Sylvie Vartan, the French singer.
