Emily Matchar Quotes
When we combine very real workplace inequalities with these romantic opt-out stories, the idea that "having it all" is a laughable goal becomes enshrined as immutable truth. And when we portray opting out as a simple matter of "choice," we ignore the systematic problems that make combining work and motherhood so difficult.
Quotes to Explore
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Young adults in their late 20s are confronted by so many choices - there are so many different paths to choose. Sometimes I think we just fill our lives with stuff so we don't really make any choice at all, which is certainly incredibly luxurious.
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I'm covered up, but I'm still getting these comments that say I shouldn't be. But the girls who wear the bikinis, they're being told they're too revealing! Enough. It's their body, their choice.
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I like romantic comedy as a genre, but I think it can get stuck in its ways.
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I've always been attracted to romantic secondhand clothes. But my style developed as I started going to these strange raves where everybody had these very definitive costumes.
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These women were taking over these former manufacturing warehouses in SoHo and figuring out a way to be fashionable and viable without money. It's hard to imagine a life like that in Manhattan now - there's something romantic about it.
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You dread that there will be real problems during filming.
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If I have a choice between looking something up and making it up, I'll make it up every time.
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I think when people make a record with a goal in mind - like taking it to the next level or making them seem more mature - that gets in the way of writing great songs.
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I am such a diehard romantic. I guess a part of me thinks I am Juliet.
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I pecked my stories out two-fingered on the Remington portable typewriter my mother had bought me. I had begged for it when I was ten.
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If I could sew comedy and philosophy together, then I've done a good job. The primary goal is always going to be laughs and the secondary goal is always going to be saying something without it being a lecture.
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Money is power and power gives you choice.
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We must improvise, and we must experiment, and we must do things that might go wrong, and everything we bring - the people and the equipment - must serve us in that goal.
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How did I go from 'Menace II Society' to 'Love Jones?' There wasn't a poetic moment or romantic bone in O-Dog's body.
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Love is a choice you make from moment to moment.
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Interviewing someone is very similar to preparing a character, isn't it? You're just asking questions: 'Who is this person? Why did they make that choice? Why are they doing that?' You're being Sherlock Holmes.
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Goal scoring is a recurring theme. If you aren't scoring then you aren't going to win games. That's obvious.
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Movies are romantic fantasies.
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Romantic poetry … recognizes as its first commandment that the will of the poet can tolerate no law above itself.
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Arithmetic is the death of story.
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A man ceases to be an honest doubter the moment he refuses one way of getting at the truth because he does not like that way.
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You don't get roles like leading character in 'Christine' very often because people don't really like women on film to be unlikable. I think Christine is lovable, but I don't think she's likable. I think there's a fundamental difference. For me, those are the richest ones. Men have had a career of doing those kind of things.
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I came to love, I came into my own.
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When we combine very real workplace inequalities with these romantic opt-out stories, the idea that "having it all" is a laughable goal becomes enshrined as immutable truth. And when we portray opting out as a simple matter of "choice," we ignore the systematic problems that make combining work and motherhood so difficult.
