Maira Kalman Quotes
I don't like anything permanent; I have to be able to flee. You have to be able to flee at a moment's notice.
Quotes to Explore
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I don't think it is important to be a role model, because if you are a role model, you are pretending to be someone else.
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At the age of 13, I felt it was up to me to decide whether I wanted to go to church or be with my mates, and I chose to go to church.
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My style is all I have. When I go on stage, that's me in my comfort zone. It's not a costume. It's just me. And I want every woman to feel that way.
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The happiest I have ever been is in the life that I led with my wife and kids.
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Music was a big outlet for me. Being able to play an instrument and sing was definitely a good way for me to escape things I was dealing with: family issues, growing up, being a kid and not knowing what I wanted to do with my life.
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I've done comedy most of my career, which I love, but I wanted to expand.
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The World Bank can only survive if it's spending money.
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New Yorkers - the people are so honest. If you're sucking on stage, they'll let you know.
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You have to be yourself.
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Fortunately during my career I have won more or less everything, so I need to enjoy it to have the right motivation.
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Death is the only pure, beautiful conclusion of a great passion.
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I was born in San Diego, and we moved to Los Angeles when I was seven. A couple of years later, I started acting!
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I have written a lot about the fine arts, but I'd never written about the literary arts, and so on some level Dante really, you know, spoke to me, as new ground but also familiar ground.
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I love the holidays on 'The Middle' because I feel like I'm getting that very traditional American holiday experience that I never had growing up.
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I'd long wanted to write about that moment when a woman steps off the career track to have her first child. For me, that was a scary time.
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The big tragedy in baseball is that the amateur spirit has gone out of it to a large extent.
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Likewise nanotechnology will, once it gets under way, depend on the tools we have then and our ability to use them, and not on the steps that got us there.
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Thematically, in a lot of what I write, there's a sense of displacement, of being rooted in multiple places, and how that can tug at your identities and your wants and your goals.
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It is sadder to find the past again and find it inadequate to the present than it is to have it elude you and remain forever a harmonious conception of memory.
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I work with wood a lot. I like building. I think of building. I would love to buy land on some water somewhere and build a house. That'd be nice.
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My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.
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What matters is discovering myself under the veneer, under the layers that are wrapped around me. There are two 'yous'; there's 'you', the real you, and then there's the image.
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I don't like anything permanent; I have to be able to flee. You have to be able to flee at a moment's notice.
