Catherynne M. Valente Quotes
Quotes to Explore
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Love is important. I didn't have the energy to be giving it to somebody else in a way that they deserved, and I knew that. So I've always been scared to go too far with somebody I care for because I knew there would come a day when I'd need to pick up and finish a painting for the next three months. That day is inevitable.
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Whether I do an original film, a dance, or a remake of my dad's hit songs, I have always been compared to him.
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I do a lot of running and hiking, and I also collect stamps - space stamps and Olympics stamps.
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Warren and I are friends, but working with him had been difficult.
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Somebody like Bowie was so interesting because when you got him off stage, he was like a businessman. But on stage, he was just dazzling. It was like watching butterflies grow.
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The idea of music is to liberate the listener and lead him to a frame where he feels he is elevated.
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Max Minghella is a very close friend of mine, and I talk to him regularly.
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I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.
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When you have somebody like a Donald Trump - he made no bones about trying to disprove Barack Obama's Americanism in trying to make him out to be some foreigner that was born in Kenya. I thought that to be very racist.
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You know, if one paints someone's portrait, one should not know him if possible.
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I dig Steve Harvey: he's the suit man. I be checking him out.
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He's so sophisticated... Kanye is like 'Fifty Shades of Grey,' he's interesting, so you want to be around him.
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He was so honest you could play craps with him over the phone.
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When no one knew who Dana White was... Dana White used to run around with me, hang out with me, and I treated him just like anyone else in my camp.
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That was' one time when my technique absolutely deserted me, I must admit. There was a wax face that he had created himself to cover his own ugliness. I was in his clutches and I had to hit him in the face.
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The thing about Wagner is we're always wrong about him, because he always embraces opposites. There are things in his operas which viewed one way are naturalistic, and viewed another way are symbolic, but the problem is you can't represent both views on stage at once.
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He bit his lip in a manner which immediately awakened my maternal sympathy, and I helped him bite it.
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Whether you need to like a character, I don't think that's necessary in order to portray him.
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Maybe I'm motivating him. My motivation is entirely coming from being a rookie and being hungry to be out there and be the guy and stuff. I think my game and my presence are motivating him quite a bit, and he's stepped his game up a lot because he looked good today.
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I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.
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Often as a poet I find that I am somewhat outside an experience I want to hold onto, consciously taking mental notes or writing them down in my journal - for fear that I will forget. It's not unlike being on a trip and taking pictures, your face behind a camera the whole time - the entire experience mediated by a lens.
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The last time I did anything like this [special powers] was with the Narnia film with two swords, the same but different.
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It calmed him to collect the things he knew and did not speak of.
