Vidal Sassoon Quotes
Quotes to Explore
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I always watch the work I do.
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I remember the first time I went to Italy when I was eighteen, I was in Florence and there were all these eighteen, nineteen, twenty-year-olds gliding past on Vespas with crinkly, long, hair, and I thought I was on the set of a movie. I couldn't believe that this was going on and I hadn't known about it before. I was flabbergasted.
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I'm the worst at picking what movies are going to do well. I have no idea. I'm really surprised if a movie I like does well.
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I've had those people very interested in my writing. Since I think of myself as a composer, I feel really good. I've had lots of guys call me up. I've gotten two or three commissions to write things. I've written lots of movie scores.
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If you learn the craft, you can make a movie and get by with tricks.
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One minute, it seemed I had more movie offers than I could handle; the next – no one wanted me.
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When you work on a movie, especially an independent movie, it's a lot of work to make it! It's not just our job as actors - so many people are working so hard, and even the littlest movie takes a lot of work.
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I would like to write a movie and, if it wasn't too crazy, also direct.
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I would love to do a 'Scream'-type movie.
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Anytime you put a movie out it's subject to such scrutiny and such criticism.
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I had traveled 10 states and played over 50 cities by the time I was 4.
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I've seen the Pokemon movie, which is probably the worst movie ever made on any subject ever.
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Every view, and every object I studied attentively, by viewing them again and again on every side, for I was anxious to make a lasting impression of it on my imagination.
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We are like the mechanism of a watch: each part is essential.
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Having a lot of people suddenly depending on me to get the job done was a marvelous motivator. The book and movie deals seemed to flip a switch in my head, and off I went.
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'Moonlight' changed me. To see people so moved by this movie inspires me to find something else to offer. And maybe the next one touches only five people or maybe just one person. To me, you know, that would still be worth it.
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After studying art, I was a painter for a while and was asked to audition for a movie randomly. I hadn't thought of acting before that.
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We tried to approach this as though there's never been a Superman movie before, but at the same time respecting the canon and mythology. There are the pillars that you have to respect, and I'm not about to break them. But it is fun for me to bend them and mess with them.
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Lionel Essrog, the twitching, barking, gabbling narrator of Jonathan Lethem's new novel, 'Motherless Brooklyn,' is no movie-of-the-week novelty grafted onto a noir mystery. Maybe his Tourette's is a gimmick, but it's a gimmick with depth, with soul.
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You need a balance at all times. If the verse is a bit messy, you need it to be less messy right after. It needs to vary. 'Shake It Off' is a good example, where the math behind the drama is pretty clear.
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First of all, I wish I could grow a beard.
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One of the big draws of the show is here's a guy who is ordinary in a lot of ways but, due to his profession, he's placed in extraordinary situations that he has to make right with action and with thought. That's what is appealing about Jack - he takes charge.
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As with fascism, the rise of Islamic totalitarianism has partly to do with its populist appeal to the class resentments of an economically oppressed population and to anger at political subordination and humiliation.
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'The Pianist' is a movie I could watch over and over again.
