Jean Hanff Korelitz Quotes
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
Quotes to Explore
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I'm ready to stretch my legs. I'm ready to jump in the ring.
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I love surfing more than cricket, more interesting and you meet great people.
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All peoples have contributed to the overall progress and enhancement of human life.
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When I'm making music, I can hear all the parts, all the instruments. I can hear what it should be.
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We just here to do our job.
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If we cut up beasts simply because they cannot prevent us and because we are backing our own side in the struggle for existence, it is only logical to cut up imbeciles, criminals, enemies, or capitalists for the same reasons.
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My older kids are fantastic people. It can't be the result of my influence on them.
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But I was very, very unhappy because my mother was very charming and generous, but to me, very dominating.
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The results showed that Joe Mokoena and I had made history. For the first time in the history of education in South Africa, two African students had passed the JC with a First Class degree, regarded as a rare achievement for any student.
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I had a long period of writing what I think of as 'save the world' novels. 'Fledgling' was a chance to play.
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The more research you do, the more at ease you are in the world you're writing about. It doesn't encumber you, it makes you free.
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Working on 'Girls' opened up a lot of opportunity for me. It's like a dream job. It's a dream.
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When I did 'Hot Fuzz,' I tried to get Barbara Steele in the movie, but I was told she had retired.
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I didn't develop or build synths. I had my technicians modify them for my live stage performances.
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I have opposed the Communist cold war line ever since, both by public utterance and by private help to trade unionists breaking free from the Communist influence.
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Loss of hope rather than loss of life is what decides the issues of war. But helplessness induces hopelessness.
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We tried to make a movie that had sex and violence because we like sex and violence.
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Well, to me, my past accomplishments weren't crazy. They required a lot of skill and careful planning.
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The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
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It's not very hard to be clever. It's far harder to be simple, obvious, and meaningful.
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I'm tall now, but when I was younger, I used to tower above everyone - I still feel conscious of that.
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I also wanted Parker to operate in the Internet age without losing being Parker. He's always operated in the world without really being with the world, and cyberspace means that the rest of us are more and more living the same way.
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Family is the most important thing: you can't buy them with money.
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You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
