Matthew Lillard Quotes
Quotes to Explore
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I'm 43. I'm not ready to sit down in a chair with my name on it yet.
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We are the only country in the world that has taken people from so many different backgrounds, which is a great achievement by itself, but an even greater achievement is that we have turned all of that variety and diversity into unity.
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I forced myself to think what is the new concept and it became clear to me that it was risk, not only in technology and ecology, but in life and employment, too.
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I've always been proud that my name stands for peace.
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I've always really been interested in the Pygmalion myth and both what it has to say about creativity and what it has to say about relationships between men and women.
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The Bible is very clear about one thing: Using politics to create fairness is a sin.
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I was a scapegoat. The media had to put responsibility on somebody, and I was chosen. They felt free to say that because someone was thin they were anorexic, which is ridiculous.
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I never made a mistake in grammar but one in my life and as soon as I done it I seen it.
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I have quite a house. People come over and I go, 'I know, I'm sorry.'
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So at the end of the day, our number 1 goal, our top priority, is to motivate American youngsters to reject the abuse of illegal drugs, tobacco and alcohol. All three of them are illegal behaviors.
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You have to relish the challenge of television.
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As actors, we put in our best, but when people don't like a film, you have to learn to deal with it. I've learnt not to get too emotional.
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I do not like violence.
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In the early part of the '60s I was influenced by the Ventures.
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It's not what other people believe you can do, it's what you believe.
Gail Devers -
Violence is the first refuge of the violent.
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Antonio Damasio is a distinguished neuroscientist with a flair for writing about science and an enthusiasm for philosophizing.
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It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.
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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 have a good mind but I don't like to bore anyone with it.
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Her heart of compressed ash, which had resisted the most telling blows of daily reality without strain, fell apart with the first waves of nostalgia.
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People sometimes ask who I would cast in my books and I never have any idea. I don't think I could ever write a book thinking of it as a movie the whole time. This would be like building a house and filling it with furniture just so you could have blueprints.
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So much of Hollywood is about who the people you work with are.
