John Hurt Quotes
I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.
Quotes to Explore
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I have fabulous children.
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I suppose I shouldn't go around admitting I speak untruths on the radio.
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I have what is probably the largest big bike collection in the city: a Fat Boy, a sportser Harley Davidson and two Yamahas. All these are 1200cc-plus bikes. Riding these bikes is something I still do and some trekking as well.
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You don't have to be a rock star - if you don't like the situation you're in, you don't have to settle for it.
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I had no work after 'Gangster' for two years, and my sister Rangoli met with an accident that destroyed her looks. My struggle with my parents combined with the industry not accepting me made me feel alienated.
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Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.
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You look at women like Lena Dunham, you look at how women are kind of crafting their own space on the screen. I want to add to that.
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Eventually you get bored and you want to work.
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We're very lucky, men, that there are these fabulous parts. Women - once you've done all the parts in Shakespeare, they start running out. So you can pick and choose and find something to energise you.
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Nothing's going to come to you by sitting around and waiting for it.
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Someone told me that creativity is just learning to do something with a different perspective.
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What bothers the New York Times is not racism per se, but who is the racist and who are her targets.
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In the long-run the workman may be as necessary to his master as his master is to him, but the necessity is not so immediate.
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It is a wonderful but daunting task that has fallen on me to say few words by way of opening this Forum, the greatest concourse of women (joined by a few brave men!) that has ever gathered on our planet. I want to try and voice some of the common hopes which firmly unite us in all our splendid diversity.
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When I was a street performer, before I had any songs of my own that anybody would stop and put in money for, I would always be doing covers. Even with covers, people wouldn't stop in the beginning.
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The production of wealth is the result of agreement between labor and capital, between employer and employed. Its distribution, therefore, will follow the law of its creation, or great injustice will be done.
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The main thing that gives me hope is the media. We have radio, TV, magazines, and books, so we have the possibility of learning from societies that are remote from us, like Somalia. We turn on the TV and see what blew up in Iraq or we see conditions in Afghanistan.
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I can spot empty flattery and know exactly where I stand. In the end it's really only my own approval or disapproval that means anything.
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Due to mistakenly believing that outer problems are their own problems, most people seek ultimate refuge in the wrong objects. As a result, their suffering and problems never end.
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There is a smile of love, And there is a smile of deceit, And there is a smile of smiles In which these two smiles meet.
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They say: only the fittest of the fittest shall survive, stay alive!
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Many great stories are father issues, mother issues or death.
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I consider it poor historical form to make fun of ancestral mistakes without respecting the eros that was linked to them. We are no less in bondage to the Zeitgeist; folly is handed down, we merely don a new cap.
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I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.
