Candace Bushnell Quotes
I always thought that there was a really good chance that I wasn't going to get married.
Quotes to Explore
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Let's judge a man on what he's done.
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What brought mass innovation to a nation was not scientific advances - its own or others' - but 'economic dynamism': the desire and the space to innovate.
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If in my twenties I'd gotten one of the two-dozen roles that I did screen tests for and almost got, I think I would have become bored with the awards circuit, the whole hype machine.
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You don't have to work hard to bring emotions. It all just comes naturally, you're there living it.
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My parents never pushed me to ski race. It was my choice and something I really wanted to do. I would have rebelled if they had pushed me, and I wouldn't have had the same passion.
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How I wish we lived in a time when laws were not necessary to safeguard us from discrimination.
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I worked with the Neville Brothers for 40-some years on the highway, and up and down since I can remember - funk from New Orleans.
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I want to drink champagne from ladies' shoes.
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I've had Irish skin from the time I was a young girl.
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If someone is alone reading my poems, I hope it would be like reading someone's notebook. A record. Of a place, beauty, difficulty. A familiar daily struggle.
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Carelessness makes me cross. And unkindness.
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At key crossroads in his life, Vernon Davis has continued to make a conscious choice to grow as a person and player. His determination through adversity since his childhood days is commendable.
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My most joy that I have is dancing.
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You can oppose reparations all you want, but you got to know the facts. You really, really do.
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I think Ingmar Bergman, Francoise Truffaut - all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film.
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I loved 'Dirty Sexy Money.' That didn't have a long enough shelf life. I would've liked to explore that character and play with that cast longer. That was a lot of fun to shoot.
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Nine months after we submitted the original screenplay for 'The Attack,' the studio that was involved pulled out. I've been told that 'you don't write in a French way; you can't make these multicultural films.'
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We live a happy life, and we don't take anything too seriously.
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In the early '90s, I was hired to write educational dramas about HIV and AIDS in the shantytowns. I did that for two and a half years, and then I was hired on other films. When 'Tsotsi' presented itself, I thought, 'This is not a world I grew up in, but I've spent a great deal of time writing about it and researching it in my past.'
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A girl can tell I like her when I blush or start telling bad jokes.
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I didn't set out to be a singer. Actually, the earliest creative efforts I made were drawings copied from comics we got every week at the newsagent, or rearranging photos I cut out and pasted in scrapbooks.
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I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.
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I always thought that there was a really good chance that I wasn't going to get married.
