Brit Marling Quotes
When I'm sitting writing, I know that something works if I've made myself cry, or laugh, or have a visceral emotion.
Quotes to Explore
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Immortality is really desirable, I guess. In terms of images, anyway.
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I quite like the drama of an encore. I think an encore is for those artists who are inclined to do dramatic gestures, and I certainly would say I am inclined towards them.
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I ended up going to college for visual arts but moved up to New York after I graduated from college in 2006 and started going gung ho to the Upright Citizens Brigade, and I realized that that was what I was really interested in and what I really wanted to do.
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We're dealing with sophisticated customers. What's most important to these women is individuality. I have to create things she'll want to wear, no matter who she is.
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The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.
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When you begin to write poems because you love language, because you love poetry. Something happens that makes you write poems. And the writing of poems is incredibly pleasurable and addictive.
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The three great problems of this century; the degradation of man in the proletariat, the subjection of women through hunger, the atrophy of the child by darkness.
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I was a very physical child... I was a tree-climber; I was a tomboy.
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I looked along the San Juan Islands and the coast of California, but I couldn't find the palette of green, granite, and dark blue that you can only find in Maine.
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Let's just say, if I weren't a model, I'd be a walking collage. I see my body as a blank canvas that's aching to be decorated; I find it all very fascinating.
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I think it's very important to have a public discussion about why we're denying our soldiers the ability to exercise their Second Amendment rights.
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They pollute. It's not because morally they have a problem, but more because the mechanism now is rewarding those who cut corners to save cost.
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There is a profound difference between information and meaning.
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In spite of holidays when I was free to visit London theatres and explore the countryside, I spent four very miserable years as a colonial at an English school.
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You don't master your fear. You're not able to say, 'I'm not going to be scared.' But what you can do is say, 'OK, I'm very very scared, but I have to do this and this and this.'
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I was a very rotund child with short hair, and for some reason, I always had black ballet shoes. I was like the Wednesday Addams of ballet.
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Mulberry Street was the beating heart of the Italian-American experience, but you don't find those gangsters now. I live with a bunch of yuppies and models.
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I'm not cynical.
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The Olympics: not one of my better memories.
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I'm not saying I'm wealthy. The best thing that ever happened to me in that context was turning everything over to Rita. And the business people. I am on a leash. That's not the end of the world.
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I am writing this during my free . . . oops! un-assigned period, at the end of my first day of teaching. So far, I have taught nothing — but I have learned a great deal. To wit: We have to punch a time clock and abide by the Rules. We must make sure our students likewise abide, and that they sign the time sheet whenever they leave or reenter a room. We have keys but no locks (except in lavatories), blackboards but no chalk, students but no seats, teachers but no time to teach. The library is closed to the students.
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You never really feel somebody's suffering. You only feel their death.
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When I'm working on my characters, that's something I pay a lot of attention to: how their body works, how they move, how they articulate.
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When I'm sitting writing, I know that something works if I've made myself cry, or laugh, or have a visceral emotion.
