Parker Posey Quotes
Quotes to Explore
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I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'
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Comfort the afflicted, and afflict the comfortable.
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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 look back on some of my outfits, and I'm like: 'Why did I wear that? Where are my friends and why didn't they tell me not to leave the house?' If they had, I probably would've said, 'You don't know what you're talking about. This looks amazing.'
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There's a part of me that's always charging ahead. I'm the curious kid, always going to the edge.
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You can't try and make something you think someone else will like. You can only make what you like. How can you make a song that Yo-Landi Visser likes? You don't know me. You'll never understand me.
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I'm a spiritual person and a religious person. But for me, it's all a personal thing. I'm not someone who'll say, 'This is what I believe, and you should too!' It's more of an internal, quiet, grounded, fulfilling thing for me.
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I love diamond facials - they leave me glowing and refreshed.
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Every story I create, creates me. I write to create myself.
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I feel totally French – I don't feel half-French because of my dual nationality. For me, dual nationality just means I don't deny my roots.
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I definitely feel more comfortable in my own skin since turning 40.
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The most memorable engagement for me, I suppose, was an away-day to Leicester. I went without William, so I was rather apprehensive about that.
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I might see something on TV and get inspired to write about it. I can't sit down and plan to write. It has to come to me in my head like someone telling me the words.
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My problem with new writers is that it takes me five or six years to memorise the right names.
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Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.
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Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
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I had an unhealthy obsession with 'Only Fools and Horses.' I still have to watch an episode with my brother every two or three weeks.
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The look of being too deliberately dressed, with everything cautiously matching, always bores me.
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My brother, who's ten years younger than me, worked with me in the studio when he was very young. He's a guitar player and does programming as well. To have the working and personal relationship coincide has been very natural.
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A few years ago, I realized I was decorating and designing my house around what was beautiful rather than practical for my family. When I made that realization, everything kind of clicked for me. I started being intentional about designing spaces with my kids in mind rather than picture-perfect rooms.
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I'd just as soon play tennis with the net down.
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I wanted to honor my heritage and where I came from and keep the name. It was a tough decision to even change the spelling of it phonetically. I wanted to keep it as close to the original as it can be.
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Women in their 40s have gone through quite a few different things, and so the roles are going to reflect that. People say, 'Oh, it's done by 40,' and now everyone knows it's not. I actually feel like the roles are a lot more interesting.
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I have a twin brother, so I was around guys like a sister. It was comfortable to me.
