James Denton Quotes
They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
Quotes to Explore
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I don't know who took what. That is pretty private with an individual.
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I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.
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Yes, we're pretty into books around my house. We have lots and lots of books around. We have TV, but really no one ever watches it.
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My legs are nice, my lips are shapely, and my breasts are pretty. They popped up when I was 11 and they weren't small then. I was teased, but now those kids wish they had what I have!
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Well, my type is obviously creative. Creative, with burning eyes and a pretty mouth.
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I don't take on big things. What I do, pretty much, is make the big things small and the small things big.
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When you're climbing at high altitudes, life can get pretty miserable.
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I'm a pretty chill and easygoing person; most people in Australia are, as well. I don't think I ever really saw a lot of fights growing up. I think it's hard to get people in Australia angry and want to fight, minus one or two people in the media... but we won't say any names.
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I'm pretty obsessed with Sara Bareilles. She is so talented, and I feel like I would learn so much from her.
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It took me years to learn that sentences in fiction must do much more than stand around and look pretty.
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'Pyrapshere' began as a sketch for a variety show I produced called 'A Pretty Good Show.' My partner, Andersen Gabrych, and I expanded it into a full-fledged faux-religion, including a list of 21 tenets, sacred symbols, testimonials, and even a clothing line. Many people believed it was a real thing and wanted to join.
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I am fortunate to stay at lots of lovely hotels when I'm on tour, but my favourite hotel group in Britain is Malmaison. I recently stayed at the Malmaison in Manchester, which was pretty amazing. It had a fabulous bar and restaurants, as well as fantastic rooms with mood lighting.
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When I did 'The Social Network', David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
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People know more about baseball players' contracts than they do about the policies that govern the fate of our children's lives in twenty years. Think about it. People used to say, the whole time I was growing up, 'Do you want to bring a child into this world?' That's pretty dire.
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I don't think there's ever a right time to have kids. I'm actually pretty glad it's happened quite young.
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In some sense, when you take a child soldier out of an armed group, you've taken away the identity he or she has had for years, and you can't assume life is just going to return to normal.
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I'm pretty much a dinosaur in the studio. I like things hand-drawn, even today. The story artists use Cintiqs, but I'm the only person who hasn't completely converted to computers. I like the Cintiq, but there's something about the raw emotional power of using paper and pencil.
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I think it's pretty normal that there are a lot of people out there who don't like us.
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I tell everybody there are only three things that we do. We build sales at the store level, we build profits at the store level, and we build more stores. The first two things go in tandem, of course. It's pretty tough to build profits without sales.
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If you think about making a city that is much more porous, many accessible spaces, that is a political position, because you don't fortify, you open it up so that many people can use it.
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I once saw a picture in the paper of John Hegley with 'poet' written on his knuckles, and I thought that was pretty cool, so I was quite up front about it.
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It is important to exhaust the potential of existing markets. But it is equally important to open up new markets.
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By 3000 B.C. the art of Egypt was so ripe and so far advanced that it is surprising to find any student of early culture proposing that the crude contemporary art of the early Babylonians is the product of a civilization earlier than that of the Nile.
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They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
