Lee Grant Quotes
Quotes to Explore
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I got lucky. I won the San Francisco Stand-Up Comedy Competition in 1977 while I was still at San Francisco State.
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My mother did all she could to control me, but at age 14 she sent me to a military school.
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I want my son to become aware that he is in charge of the choices he makes, and it's good to make thoughtful, good choices.
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Any artist who aligns themselves with a politician is making a category error because what politicians do is not on a human scale, it is on a geopolitical scale.
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I think that each woman, whatever age, needs to recognize something good in her body. Someone has beautiful legs, someone has beautiful hair, someone else has beautiful decolletage or a beautiful waist or beautiful hands. Everyone has something great.
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When people say to me 'what do you think of rap music?' my answer is there's no such thing. There's rap and there's music.
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I don't use the voice of Bart when I'm making love to my husband, but Marge's voice turns him on a little.
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I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
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So being two different people in one day unnerved me to no end.
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What man is there, surrounded though he be with the love of wife and children, who does not retain a memory of the romantic affection of boys for each other? Having felt it, he could scarcely have forgotten it, and if he never felt it, he missed one of the most golden of the prizes of youth, unrecapturable in mature life.
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I took a whole stunt course and pretty much got certified as a stunt driver. It's ridiculous how easy it is once you understand the car and know how to do it.
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Those who promise us paradise on earth never produced anything but a hell.
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Overall I enjoy a certain anonymity. I live a very normal, very ordinary life.
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It's often been observed that the first casualty of war is the truth. But that's a lie, too, in its way. The reality is that, for most wars to begin, the truth has to have been sacrificed a long time in advance.
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When I wrote 'Mushaboom', I was living in the second verse, but I suddenly found myself in the first.
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Imagine: in the medieval ages, there was no evidence of how the history of mankind has been affected by witchcraft. But there is significant factual history of how brutality and sadism of mankind have been displayed in the most obscene manner in the name of witch-hunt.
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I hold this to be the highest task for a bond between two people: that each protects the solitude of the other.
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What worries me is the professionalism of everything.
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We're all smart enough to figure out Xs and Os - it's basketball, it's not advanced calculus. But the most important thing is can you get your message across to players? Do they believe in you, and do they want to compete for you?
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I think the really cool and compelling thing about math and physics is that it opens up entry to all these hypotheticals - or at least, it gives you the language to talk about them. But at the same time, if a scenario is completely disconnected from reality, it's not all that interesting.
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I've always been a great believer that you have to keep producing new things in order to keep life interesting - not only for ourselves, but for the audience as well. That's really always been our principle and way of working.
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The interesting thing about white power and the desperate white knuckling grip on this thing call whiteness, which is a myth in itself, is that black folks... we're not asking you to invent new laws for us. We're asking you to include us in the laws that are already on the books.
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He was the average guy. Maurice, I think, reflected every man.
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I pretty much always stuck to the most interesting part I could play.
