Jane Wiedlin Quotes
I don't think you would want to see all five Go-Go's naked - I think we would be scary.
Quotes to Explore
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We continue to be bullish on China.
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As a very young girl, I understood that the interior activities of the home are as significant as the exterior activities of society.
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Stereotypes lose their power when the world is found to be more complex than the stereotype would suggest. When we learn that individuals do not fit the group stereotype, then it begins to fall apart.
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With a poetry book I can send 100 copies out to reviewers and other people, and even do it in advance and get their response. It's difficult with iPad: how do you send it out for free, and how do you even disseminate it before it goes into their store?
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Without stirring abroad, One can know the whole world; Without looking out of the window One can see the way of heaven. The further one goes The less one knows.
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I vowed to myself when I got married that I would cook every night. I find it very therapeutic.
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I love the secrecy of writing fiction. When I write a novel, I don't tell anybody what I'm doing. I'm living in my private world. And it's a great sensation.
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One important theme is the extent to which one can ever correct an error, especially outside any frame of religious forgiveness. All of us have done something we regret – how we manage to remove that from our conscience, or whether that's even possible, interested me.
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Inventions have long since reached their limit, and I see no hope for further development.
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If you come every day or every month to my studio, you won't see that much change, but if you come once a year, you'll see big new categories opened up.
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Good tests kill flawed theories; we remain alive to guess again.
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The significance and volume of repairs that are needed across the country demand that we give state and local governments the long-term certainty they need to effectively execute these projects.
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Yeah, I can't separate the art from the music and the music from the art. I think that stems from going to school for film first, and kind of stumbling onto music as my career.
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Growing up, I think I always had a sense of art: a sense that there was poetry in the world. I didn't know where I was going to find it. I didn't know where I was going to fit in, that was for sure. But I kept moving forward. There wasn't a future in anything other than movement.
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The one thing I loved so much about making 'Pitch Perfect 2' - especially in comparison to a movie like 'Ten Thousand Saints' - is you can go and be yourself, and you just know that all your weirdness and craziness and imperfections are completely embraced and accepted.
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I love to play with the notion of who the protagonist is - who is the audience supposed to root for? I did it in 'Sicario' and feel it was the strength of the script - guiding the audience's allegiance toward the villain because they think he's the hero, until it's revealed that he's the villain.
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I don't think we're as divided as many in the elite would have us believe.
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My parents are pretty good about keeping me humble. They brought me up good.
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That was always what I felt was the beauty of Rock 'n' Roll, it was entertainment and showbiz yet it had the idea of the voice of the people, it had an essence to it which was socially motivated. Not that I want to change to world, you know? But it was sort of relevant to real life, it involved the real essence of poetry or the real essence of fine art. But it was also entertainment. That was the real vitality.
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Sometimes I just wonder if I'm being led by variety. If one film leads me down one path, sometimes I just want to turn around and head the opposite way for the next project. I hope that's not the case, but sometimes I suspect that.
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In 10 years, I don't really know what I'll be, and I like not having any idea. I like the idea of being so passionate about everything I do and the fact that I might wake up tomorrow and say 'I want to be a chef,' and just pour myself into that.
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With a brand like Gucci, you have to give something that belongs to beautiful Italian culture in terms of craftsmanship and materials.
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For whatever reason, the films I gravitate towards do have these strange sort of tonal balances to them... I kind of realized on '50/ 50' why I liked these blending of tones, because I think it's kind of what life is like: funny one minute, sad the next, scary the next.
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I don't think you would want to see all five Go-Go's naked - I think we would be scary.
