Dita Von Teese Quotes
Quotes to Explore
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Only twice have I really had a hard time leaving a character. The first was my character in 'Rome' and then in 'Homeland.'
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It's an error in judgment to bounce into starting a small business before you cash in on building a strong foundation.
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I'm twitchy. I think I've got ADD. I find it hard to sit down. I need to be constantly challenged; otherwise, I get very... well, I guess 'bored' is the word.
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Hope is a great falsifier. Let good judgment keep her in check.
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I heard what was said of the universe, heard it and heard it of several thousand years; it is middling well as far as it goes - but is that all?
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You've never seen a Columbine done by a black child. Never. They always say, 'We can't believe it happened here. We can't believe it's these suburban white kids.' It's only them!
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I don't talk about political matters. That's not my department.
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Fashion is supposed to be light and not try too hard.
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When I was 13, I got my first guitar, and I could sort of play Ted Nugent songs, but I couldn't play the solos. But I could play along with entire Ramones songs.
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Companies that have strong graphic identities have built them through years of use.
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I went into the sciences very early on, but to me, economics pervades so much more of our lives and our existence.
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I think as a filmmaker one should make all kinds of films. It is not that one should make only one kind of film. I love to see romantic films; I loved watching 'Dilwale Dulhaniya Le Jayenge,' 'Kuch Kuch Hota Hai.' If I make such films, I will make it with my yardstick, according to my parameters.
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Follow that will and that way which experience confirms to be your own.
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Art is subject to arbitrary fashion.
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But I'm a big believer that government does not have a monopoly on good ideas.
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Because America is a democracy, public support for presidential foreign-policy decisions is essential.
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I don't have any regrets about not having had children. What's the point? It's just something else to beat yourself up over.
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When I was younger, I had a much better connection between words and music. Somewhere along the way, I had kind of an aspiration to disconnect them, to just kind of go into a totally musical world.
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You do a play, or you go on set for the first day of filming: if you don't have nerves, and you don't have any kind of adrenalin pushing you forward, then something is wrong.
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One thing you learn doing magic tricks for a living is how close every performance of every magic trick is to disaster. There are no robust magic tricks. They're all hanging from a thread - sometimes literally.
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Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
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"Ego," sayest thou, and art proud of that word. But the greater thing - in which thou art unwilling to believe - is thy body with its big sagacity; it saith not "ego," but doeth it.
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My favorite moments are the moments everyone cries over. I see people in the audience crying, and I go, 'I did that, too. I don't just do the jokes. I also do the cries.' Jokes and cries, jokes and cries. That's all I'm here for, people.
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I don't feel I have an alter ego.
