Emilia Clarke Quotes
I don't get much studio stuff. I'm usually on location, and I know that some people think that acting is so glamorous, but believe me, it's not!
Quotes to Explore
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If we could all figure out a way to just be true to ourselves and have a good time doing what we're doing, it would be a lot more fun.
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Every generation comes with a unique athlete, I don't think anybody wants to be the next Nadia; they want to be themselves.
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Our parents all experimented with raising us in a fairly loose, unorthodox way. A huge emphasis was placed on creativity, and our artistic efforts were never dismissed as childish. There was a sense that we - kids and grown-ups - all had the potential to make something of value. Our drawings were not simply destined for the refrigerator.
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Overall, the anarchy was the most creative of all periods of Japanese culture for in it there appeared the greatest landscape painting, the culmination of the skill of landscape gardening and the arts of flower arrangement, and the No drama.
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I really like having a life outside work. I sometimes wish I did more career stuff and was in that Hollywood scene a bit more. But Toronto's my home.
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Only together do Europe and the U.S. stand a chance of keeping liberal democracy as the central doctrine for organizing world affairs.
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The biggest rival I had in my career was me. I couldn't control Arnold Palmer, Gary Player, Tom Watson or Lee Trevino. The only person I could control was me.
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I just don't think men fancy me.
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I don't think anything's ever simple. Everyone's just trying to understand each other, and whether that's because you're in a relationship or because you're meeting their friends or because their meeting your brother or whatever it is, nothing like that is ever smooth running.
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This is my ultimate fantasy: watching QVC with a credit card while making love and eating at the same time.
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All people, regardless of whether they're athletes or not, should treat people the way they want to be treated.
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I truly loved Jason Reitman. I was there on his first film, 'Thank You For Smoking,' and I'd go work with him to do anything.
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We call ourselves a dog's 'master' - but who ever dared to call himself the 'master' of a cat? We own a dog - he is with us as a slave and inferior because we wish him to be. But we entertain a cat - he adorns our hearth as a guest, fellow-lodger, and equal because he wishes to be there.
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I wanted to look at the mentality that can breed that sort of intensity, that kind of cutthroat, pressure-cooker feeling, especially a form of music like jazz, that should be - or you'd think should be - all about liberation and improvisation and everything.
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It might be useful to distinguish between pleasure and joy. But maybe everybody does this very easily, all the time, and only I am confused.
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I don't want to hear about my death.
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If it feels right and I'm not going against any energy in myself or the situation, there would be no limit.
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If I think about the writers I love or might be influenced by, I can't write at all, so I pretend there aren't any.
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Day-to-day concerns really trumped big dreams for quite a while in my life. I was so freaked out about money. And until, honestly, I was in my early thirties and made 'Girlfight,' that anxiety was a real issue: How are you going to live? How are you going to survive?
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It doesn't matter if you please the whole world and don't please Jesus. But if you please Jesus, it doesn't matter whom you displease.
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I'm just not interested in selling out to get on the charts and make people happy.
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If you look at Japanese drama, I think there is definitely a treasure trove of it, but I just don't think that people know about it. It's got to be pitched and presented better.
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I don't get much studio stuff. I'm usually on location, and I know that some people think that acting is so glamorous, but believe me, it's not!
