Nargis Fakhri Quotes
I got a lot of offers after 'Rockstar' but was totally dependent on the team managing my work, who did not want me to sign any of the films I was offered, even though I wanted to.
Quotes to Explore
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It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.
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I make a mean cup of coffee, if you give me the right ingredients.
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I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.
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I'm not faithful to one particular medium, and it's what I try to teach to people who work with me.
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I think shortly after I got signed, it just started to dawn on me that I had something to say and that Yahweh put something in my heart to share with the world.
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Being on TV sucks. It's a lot of work. You memorize scripts and then you show up and they change everything. I'm a control freak. When I'm doing stand-up, I say what I want and then I get instant feedback.
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My parents got to see all my hard work pay off.
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If you love something - and there are things that I love - you do want more and more and more of it, but that's not the way to produce good work. So as an author, I need to write what I need to write.
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That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.
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Hard work is not why I have been successful as a model.
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R. C. Buford has been a huge help to me with his support.
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Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
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I found that I need to work, and I wouldn't have known that if I hadn't taken the time off.
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I am a fashion designer, so I guess that makes me an overpacker.
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The first two pictures I did, I played a young student in prep school. When I did Lifeguard, everyone was saying, You're so Southern California. It was a surprise to me.
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The trick is in what one emphasizes. We either make ourselves miserable, or we make ourselves happy. The amount of work is the same.
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No degree of dullness can safeguard a work against the determination of critics to find it fascinating.
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It's not often that the idea of continuing something for a potentially long period of time sounds exciting to me, because I really am a gypsy by nature.
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An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it.
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Without the work, the magic won’t come.
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I once spoke to 9,000 people, but they managed to fit them all into a structure that resembled a Zeppelin hangar, so it was a contained space in which whatever laughter I generated could ricochet and hang around for a bit, encouraging others to join in.
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A mad person isn't someone who sees what isn't there; he's someone who sees what is there but that others can't see. I really believe that.
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People never cease to amaze us.
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I got a lot of offers after 'Rockstar' but was totally dependent on the team managing my work, who did not want me to sign any of the films I was offered, even though I wanted to.
