Olesya Rulin Quotes
I was really blessed with parents who never said I couldn't do anything. And now I reflect as an adult on that, 'Wow, they never told me no!'
Quotes to Explore
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It's insane that people have these Internet identities. It has very little to do with who we really are. As a writer, who I'm friends with, how I spend my time, what I look like, what I wear, what I eat, what kind of music I like - it's totally not important to the work.
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The trick to acting is not to show off, it's to think the thoughts of the character.
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Immaturity is the incapacity to use one's intelligence without the guidance of another.
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I don't believe in God, though I'm not prepared to call myself an atheist either. You know the old phrase: 'There are no atheists in foxholes.' I've never been in a foxhole, and if I ever find myself in a foxhole, I'll let you know if I believe in God or not.
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We do high heels, and people know us for that, but the idea of wearing a flat from day to night feels special.
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Most actors, if you ask them if they play guitar, they'll say they played guitar for 20 years, but what they really mean is they've owned a guitar for 20 years.
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There's a whole element of human interaction and character interaction that I really enjoy doing.
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Republicans are for both the man and the dollar, but in case of conflict the man before the dollar.
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This is one hell of a business I picked to be in.
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Instead of building walls, we should be building bridges.
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My character in 'True Grit' would set these goals for herself that seemed near impossible, but to her they were possible. She was never going to believe anything else other than that.
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The trade magazine and all was banned in my house. The first time I read a film magazine was when I was 18.
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The television business is based on managed dissatisfaction. You're watching a great television show you're really wrapped up in? You might get 50 minutes of watching a week and then 18,000 minutes of waiting until the next episode comes along.
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I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.
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I hate to witness animals in captivity - or see circus elephants paraded down the streets. When animals are caged, it's a loss of what they are.
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In this world without quiet corners, there can be no easy escapes from history, from hullabaloo, from terrible, unquiet fuss.
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I didn't beat her. I just pushed her out of bed.
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There are a lot of bad films out there. There's a lot of bad architecture out there, and I think sometimes it takes a lot of time to begin to see what's really good. And I think what the test seems to be is, what really sticks with you. And what really becomes a part of your life.
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I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.
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The landscapist lives in silence.
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You know, growing up, I lived in a neighborhood in Long Island where there was basically one black family. And I remember hearing all the parents and the kids in the neighborhood say racist things about this family.
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My parents were terrific - mother was a church organist and my father was probably the most respected person in our church outside of the minister and sometimes maybe that much. The neighbors all called him - a gentleman.
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My dad was born in Chicago in 1908... his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children - in the backroom all together - and my grandmother got the idea to go into the movie business.
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I was really blessed with parents who never said I couldn't do anything. And now I reflect as an adult on that, 'Wow, they never told me no!'
