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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In the spring of 1988, my wife, Joan Didion, and I were approached about writing a screenplay based on a book by Alanna Nash called 'Golden Girl,' a biography of the late network correspondent and anchorwoman Jessica Savitch.
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I love to sing. I don't think it's strange for singers to act, or painters to sculpt. I don't want to ever feel like I'm cornered into one expression of creativity because I'm successful at making films or being an actor. I guess it's best to not paint yourself into that corner.
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If agricultural land be left uncultivated, in a few years the jungle returns, and signs are not lacking that a similar danger is always lying in wait for the fields of thought, which, by the labour of three hundred years, have been cleared and brought into cultivation by men of science. The destruction of a very small percentage of the population would suffice to annihilate scientific knowledge, and lead us back to almost universal belief in magic, witchcraft and astrology.
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Anyone with an Internet service provider can be a pundit or whatever they want.
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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.
