Jerry Saltz Quotes
My nominee for Best Picture of the year - maybe the best picture ever, because it's essentially made up of and is an ecstatic love letter to all other movies - is Christian Marclay's endlessly enticing must-see masterpiece 'The Clock.'
Quotes to Explore
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What other grown-up gets told how to do their job so often as a writer?
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Honey, God loves everybody. It's human beings who mess things up.
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One of the strangest experiences one can have is to sleep on stage, as I once did in Sydney when I'd lost the key to my flat. I had to stay at night in a bed, which conveniently was on stage because my character Sandy Stone did his monologue from a bed. To wake up looking at a shadowy auditorium is a very peculiar feeling.
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The sad truth is that most evil is done by people who never make up their minds to be good or evil.
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Growing up in a small town gives you two things: a sense of place and a feeling of self-consciousness - self-consciousness about one's education and exposure, both of which tend to be limited. On the other hand, limited possibilities also mean creating your own options.
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When I'm home on a break, I lock myself in my room and play guitar. After two or three hours, I start getting into this total meditation. It's a feeling few people experience, and that's usually when I come up with weird stuff. It just flows. I can't force myself. I don't sit down and say I've got to practice.
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I like to dress up every day, so I think fashion is an everyday process.
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I don't feel like I'm grown up. I feel like I'm a kid.
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Nobody will ever notice that. Filmmaking is not about the tiny details. It's about the big picture.
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Life is challenging but I'm always up for a challenge.
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We hunger to understand, so we invent myths about how we imagine the world is constructed - and they're, of course, based upon what we know, which is ourselves and other animals. So we make up stories about how the world was hatched from a cosmic egg or created after the mating of cosmic deities or by some fiat of a powerful being.
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It's actually very important to put a little foundation up into your hairline, or else it looks like your face is not yours - like someone just Photoshopped it on!
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I had a lot of times with Wales as well when we were getting beat - and beaten well - and you learn to deal with it. You learn that next time it happens, you roll your sleeves up and give everything for the team.
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I am a bit sickie happy. I am prone to black clouds too, but... I am embarrassed about them. It's like: 'My diamond shoes are too tight. My money clip doesn't fit all my fifties.' I mean - really. Shut up.
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I really enjoy taking care of people, and I was really ready to have a kid, so I didn't have to sacrifice anything that I didn't want to give up.
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I loved junior golf.
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The era of playing aggressive cricket and to have the mid-on up is gone. You now try to read the mindset of a batsman.
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It's so weird to turn on a switch and be the role model for all women, for all African-Americans. That doesn't happen that easily. It just doesn't. And so I don't act up in public and I don't do anything weird - because my sisters are watching me, not because the world is watching me.
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It's been said to me that I'm self-destructive because I'll walk away from things that are good.
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I think 'Mudbound' reveals the interconnectiveness of our stories. You can't separate out threads of history and race as economic construct. 'Mudbound' makes it very plain. Race is about commerce; it's not an actual thing. It's a fiction that was created to basically divide resources unequally.
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With 'Black Sea,' I long had an idea that I wanted to do a film about people stuck on the bottom of the ocean. I thought that was a terrifying scenario.
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I sat in the green room at Radio City Music Hall for the 2006 NFL Draft. At my table, I was encircled by my parents, brother, agent, former coaches and close friends.
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A photograph can look any way.
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My nominee for Best Picture of the year - maybe the best picture ever, because it's essentially made up of and is an ecstatic love letter to all other movies - is Christian Marclay's endlessly enticing must-see masterpiece 'The Clock.'
