Jemima Kirke Quotes
But I'm interested in the Barnes Collection in Philadelphia. I hear there are some of the worst Matisses there. I like seeing bad art by good artists. It's inspiring. I'm able to identify with them. It makes them real.
Quotes to Explore
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In reality, throughout your career, you have to make yourself interesting enough for people to be waiting to see your films. In my case, people are longing to see what I come out with next. That's my success.
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It's hard for me to talk about Dom right now because I am Dom right now. So it's a really strange exercise to try to reflect on something that I am at the moment. But I guarantee you that when I'm done with the movie and you ask me that question, I'll be able to give you something insightful.
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If there were a major earthquake in Los Angeles, with bridges and highways and railroads and airports all shut down and huge buildings collapsing, I don't care how much planning you do, the first 72 hours is going to be chaotic.
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My parents were very supportive of me and my artistic endeavours. My father and mother came to every school play I ever did.
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A damn independent boy; independent as a hog on ice.
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When we talk about the minimum wage, we have to ask ourselves what it is that we owe both our workers and employers. I think clearly we owe them fairness.
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There is something uniquely American about the motel: It speaks to the transient nature of America itself, one enabled and encouraged by our roads and highways.
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It should take you 15 minutes to make a song, and then get out of there.
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I grew up in a little town in Minnesota, 500 people. I went out to Princeton, and I wasn't very well-accepted out there by the fancy folks of Princeton University, I felt. I came away bruised and feeling rejected.
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American business at this point is really about developing an idea, making it profitable, selling it while it's profitable and then getting out or diversifying. It's just about sucking everything up.
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A big reason I'd spent my career as a writer and not a public speaker is that I am a person who refines my worldview in a silent room, waiting for my thoughts to arrange themselves on the screen before me.
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We have been learning since we were children how to make money, buy things, build things. The whole education system is set up to teach us how to think, not to feel.
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The importance of the arts to the societies in which they thrive is well documented.
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North America was ready for something other than a vanilla cooking show and we were providing the double dark chocolate fudge.
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I came out the box and for seven years I had a huge career. And then it's done, it's dumped. But I ain't gone, and I refuse to be gone.
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What we hear now is great-sounding records with great-sounding grooves and loops. And the sound of these records is irresistible, but the craft of songwriting is just about over. That's why, whenever I get an opportunity to do an album full of standards, I jump at it because I miss it.
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What feels most productive to me isn't to think so much in terms of how I can be alternative, but how I can be subversive in a way that feels organic, how I can connect with people, and how I can just be myself, which may be the hardest thing to be.
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Through teaching myself how to be happy and get through things, I hope I can also do that for other people.
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Everyone in the Chinese economic world knows that the country is not going to move out of cheap-workhouse status, toward the realm of 'real' rich-country corporate power and prosperity, unless (among other changes) it begins removing these price distortions.
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This is a privilege, what we get to do. To be able to tell stories. It's a luxury. So I have a business-like approach to it, the same way I had with football.
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I always meditate before every show. I say a prayer with my crew and my band to get in the mode, and I also stretch because it's a very athletic show. We've got to entertain; it's what we do.
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I'm going to finish my runs hard, and I'm going to try to set the tone.
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You have to be a really talented writer if you're trying to encapsulate a news story with a song and have it live after the event. I don't have the focus to do that, really.
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But I'm interested in the Barnes Collection in Philadelphia. I hear there are some of the worst Matisses there. I like seeing bad art by good artists. It's inspiring. I'm able to identify with them. It makes them real.
