Ellsworth Kelly Quotes
I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
Quotes to Explore
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On the whole, it is the rights and freedoms of all citizens that are crucial in Saudi Arabia and from those the rights of women will emanate.
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Human technology has made it to Mars. We are transmitting gorgeous pictures from it. Yet we have not explored our own planet. Two-thirds of it is covered with oceans that are still mysterious places.
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I think these people have betrayed or have forgotten their ancestors.
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If you come to my house, you won't see a wall of trophies or things like that. I'm sort of 'on to the next thing' all the time.
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I'm not of the American ilk that, you know, your lover needs to be your best friend and know you inside out. I think he should know you well enough to please you. Otherwise, what secret will there be to tell him when you're ninety?
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I studied chord theory and started playing the piano.
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I've always been extremely physical. I was a gymnast for 15 years, and then I was a dancer for nine, so I was kind of looking for these parts. But we have a tendency in Denmark not to do many action films.
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I am Patrick, a sinner, most uncultivated and least of all the faithful and despised in the eyes of many.
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There are films you see that only reach your eyes. Then there are films that you can watch... that reach down to your throat, or reach your heart. 'In the Mood for Love,' though, reached all the way to my belly.
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The name of the Redskins will remain the Redskins.
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And we reduce almost all male-female problems by working on both the female and the male. And that usually means having both sexes take responsibility.
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I was the family alien. Both my parents are quite creative, but I was... appalling... always putting on little shows. I was rather a shy child, not a natural performer, but there was a performative edge to everything I did.
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It kills me to lose. If I'm a troublemaker, and I don't think that my temper makes me one, then it's because I can't stand losing. That's the way I am about winning, all I ever wanted to do was finish first.
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I'm not an easygoing guy as a director.
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The friends I knew who tutored were well paid for work that seemed far less grueling than waitressing or late-night newspaper copy editing or all the other side gigs I attempted in my early twenties.
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'Frida' was a joy; this was delicious, I couldn't wait every day to get to the set, although I was exhausted, and have my leg get cut off or lose the baby or be in her shoes and get to play my hero and be able to go places emotionally. You know, we live for parts like this. This is a dream for an actor.
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I hate negative ads in general.
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I am a big, confident, happy woman who had a loving childhood, a pleasant career, and a wonderful marriage. I feel very lucky.
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I'm an omniviorous reader, but I don't read what could overlap with my own work. It's like tuning a radio frequency - it's much harder to pick up if there's something else there.
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'The Man in the High Castle' is still the best what-if-the-Axis-had-won novel.
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I've never been up with the times, always been slightly out of step.
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It's a tender and complicated dance, watching our parents age. We become protective in ways we never were before, and we study them with a mix of sadness and curiosity: Is this what we will be like when we are their age? We tell ourselves to be patient - just answer the same question again as if it wasn't answered a moment ago.
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I don't really make movies with an intention other than asking myself, 'Do I love the character, and do I love the story?'
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I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
