Liz Phair Quotes
Quotes to Explore
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I believe journalism or news will migrate to the online medium.
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My first published work was when I was 19, in 'Playgirl.' It was an odd experience but exciting.
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There's this really good line in 'Women in Love' where Ursula says, 'I always thought it was a sin to be unhappy.' And actually I think that's very common, it's what a lot of people feel - that you have an obligation to life to be happy if you can.
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I have five horses. My first was a professional jumper named Santos. I got him when I was 18.
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I sometimes wonder how we're short of cod. There's gonna be a load deep down that are hiding. But it's a good reason to put the price up, and it means a load of people will have haddock. They should tell people they're running out of all sorts. Make 'em panic a bit.
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My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.
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I have lots of passions - gardens, art, music and reading. I have eclectic taste and read a huge variety of books.
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Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.
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To play four hands requires two people who have great affinity for each other.
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The striking thing about the Precious Blood is the bond it establishes between love and suffering in our experience, a bond that has become so close that we have come to think of suffering accepted with joy as the most authentic sign of love with any depth at all.
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Dance connects us to the musicality of life and to one another. No one should be denied such basic pleasures.
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I considered myself very lucky after 'Baghdad Cafe,' and I have 'The Shield.' In every genre, I've kicked butt at some point. I'm real happy.
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If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.
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But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
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People win Oscars, and then it seems like they fall off the planet. And that's partly because a huge expectation walks in the room and sits right down on top of your head. The moment I won the Oscar, I felt the teardown the very next day.
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Have common sense and stick to the point.
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It is easy to talk on religion, but difficult to practice it.
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Memories are like stones, time and distance erode them like acid.
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If I wanted to do clothes or if I wanted to make a building or design a choreography, you are able to do that - they are all under a similar kind of design umbrella.
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If you take Lucie Rie and Hans Coper, their work didn't even relate to what we were trying to do, because they were moving in a different direction, both of them coming out of Europe and the Viennese school of design, which Lucie came from, and Coper learning from Lucie and then springing off on his own when she encouraged him to explore more widely. So he created his own work instead of just working for her and doing her forms. So that was a wonderful thing.
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Everyone's inspired by Brando. When I started acting, my dad showed me 'On the Waterfront,' and I thought, 'That's the coolest guy I've ever seen.'
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Living in Maryland, I saw that the opportunities were far greater in California than back home.
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I love directing scenes that I'm not in because suddenly I really feel like a filmmaker which is a different thing.
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I mean, I think about it, but I don't design my record to get a certain public response.
