Andie MacDowell Quotes
Quotes to Explore
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During workouts, I listen to Pandora, and I like the '90s pop stations. 'The Backstreet Boys' is fun!
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As you get older, challenges arise that you aren't prepared for, but what got me through it was music.
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In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.
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I see myself as an artist who happens to do cartoons.
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There were many years when I was hand-to-mouth and didn't know how I was gonna make rent. I've done every job under the sun, from busing tables, temping, and working in factories to SAT prep and detailing cars. So to be able to make a living where all I do is write is absolutely liberating.
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I think I'm a critic of corporate power, whether locally or globally. And the term 'globalization' I've never found all that helpful.
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I loved being on the set of 'Field of Dreams' because I hung out with the baseball players all day, played cards, flirted with Ray Liotta, and had a ball.
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The last thing you want to do when you are about to film a scene is think, 'Oh my God, so many people are going to watch this.'
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Growing up, you always want to hang with your dad - go fishing or whatever. But my dad was always working, so we never really had time for that. I think I kind of learned to accept it.
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When I graduated, I was director of my school's sketch comedy group, and I knew that I wanted to be writing and performing my own sketch comedy. It kind of made me want to do my own one-person sketch group.
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I've seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the TV viewer of the future will wear a special helmet. You'll no longer be an external spectator to fiction created by others, but an active participant in your own fantasies/dramas.
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I want to be part of the resurgence of things that are tangible, beautiful and soulful, rather than just give in to the digital age. But when I talk to people about this they just say, 'Yeah, I know what you mean,' and stare at their mobiles.
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I feel like a mirror reflecting back everyone's perception of me.
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Kids will ask us 'How do you become famous?' It's the wrong question. Focus on the craft, not on the fame.
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It's a simple fact: no individual can be good at everything. Everyone needs people around them who have complimentary sets of skills.
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In the '70s I was in exile; every time I went back I wondered if they'd take my passport away.
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Making the record was tons of fun, the most fun I've ever had.
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Toleration is good for all, or it is good for none.
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In the long term everyone traffics in foregone conclusions, and in the short term they just get drunk. This is the way it has always been. Some half-assed ambiguity masquerading as mystery is all anybody's really looking for.
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I realise I am stepping into the shoes of a hugely respected editor in the shape of Alexandra Shulman, someone who has chosen to leave at the top of their game with a legacy of 25 years of success.
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I like suggesting that 'we are slaves to the objects around us,' that 'plenty should be enough,' or that the 'buyer should beware,' within the context of conventional selling space.
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If you play a match, then you got to give it all to beat the opponent; there is nothing like playing against a great or a non-great player. I treat them all as opponents and aim to beat them.
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My week at school would be good or bad depending on whether Balmain won. I have such fond memories of those suburban grounds, and everything was so undiluted. The players weren't censored, and for me it was a wonderful period of my life when everything was simple and pure. For me, that resonated with rugby league.
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I try really hard not to be attached to success.
