Leonardo DiCaprio Quotes
That's the magic of moviemaking. You clearly identify one scenario with the other, and it's a completely different experience.
Quotes to Explore
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There were a couple of things I needed to do while I was in New York. One was to have a pizza pie, one was to get a tattoo... and the other was to get a Yankees hat.
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I have to remember that winning an Oscar is an almost unbelievable goal and that it is an honour just to be nominated.
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Scoring the first 10 in history was a big deal, but the fact that even an electronic scoreboard could not figure out how to put out a score, it made the story more historic.
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I'm very privy to the way bookstores work, and I think a lot about the ecosystem that my books have been published in. I think it's great to be aware of how publishing works.
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In theory, taxes should be like shopping. What I buy is government services. What I pay are my taxes.
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I'm an artist at heart.
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Nearly half of the American population is eagerly anticipating the end of the world. This dewy-eyed nihilism provides absolutely no incentive to build a sustainable civilization. Many of these people are lunatics, but they are not the lunatic fringe.
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I talked about becoming stupid, but I've always been stupid. Fortunately I've been just smart enough to realize that I'm stupid.
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The girl-next-door image is a sort of joke; for years, I couldn't get any roles other than as somebody dark.
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It's funny: when I set out to create the world of 'California,' I didn't give the type of apocalypse much thought... I simply set my two characters, Cal and Frida, in a depleted world and moved through it intuitively.
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Designers have told me that their collections are so me, but I don't always recognise it because if you ask me what my style is, I'm really not that sure.
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My dad was my first coach and drove me extremely hard from a very young age.
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A theory can be proved by experiment; but no path leads from experiment to the birth of a theory.
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As far as expectations go, you can never work for expectations. You have to work against them.
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I am the son of a freedom fighter, and a son of a freedom fighter automatically imbibes the value of democracy.
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The Middle East is obviously an issue that has plagued the region for centuries.
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I realize how myself and other people have started to almost fool ourselves that it's more important to us and more real than the real world, the offline world, and we value looking at our phone and pixels on a screen more than connecting eye to eye with a human being, which is terrifying to me because we're becoming robots.
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The biggest challenge for me has been in coping with my perfectionism. I have a stiflingly hard time moving forward in a project if it's not 'just right' all along the way. The trap I so easily fall into is rewriting and rewriting the same scenes over and over to make them perfect, instead of continuing on into the wild unknown of the story.
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If you come into success too soon, you'll burn out and be finished before you know it. If you let the maturation process happen naturally, you'll be happier with yourself in the end.
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Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.
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I think comparisons are very on the surface. If I sing, like, 'Park Bench People,' and there's kind of a social undertone, people will say I sound like Gil Scott-Heron. But for me, the more insightful comparison would be a Roberta Flack or Nina Simone - people who really mix different genres of music.
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The Court's objection to cameras may be much more a product of history and process than an unwillingness to be placed in the public spotlight.
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If you can just be yourself, then you have to be original because there's no one like you.
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That's the magic of moviemaking. You clearly identify one scenario with the other, and it's a completely different experience.
