Marg Helgenberger Quotes
I didn't work on the killing floor. I worked in the section where you break the meat down and package it.
Quotes to Explore
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I've listened to female vocalists my whole life. That's what I love. I still listen to guys' vocals and don't get taken aback a lot.
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The two most important things in my life were academics and sports. I had to do my schoolwork first.
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Hip-hop is a vehicle.
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Once you are a model, you do have to fly a million red-eye flights, and you do have to entertain a different client every single day.
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To create something new is both thrilling and excruciating at the same time. It's great to have all these choices in front of you, and to have the writers in the room so you know exactly what they meant. But the downside is you want so badly not to screw it up!
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When I grew up, my role model was my grandma because she's just the best.
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The American people know something is wrong as far as energy is concerned. They don't think they are being told the truth.
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I had done another show called 'United States of Cars,' which was a pilot that didn't get picked up. And they said, 'You know, we're doing 'Top Gear,' and would you like to meet the guys?' It was the wild - most wild audition I ever had because I never went to a studio or a producer's office.
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Winning a gold medal is not easy but I believed in myself, especially over the last four years.
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The relationship with time changes when you're captive.
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There is no more respected or influential forum in the field of journalism than the New York Times. I look forward, with great anticipation, to contributing to its op-ed page.
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I would not hesitate to vote for a white person as president if I thought he was the best person for the job.
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I influence people, hopefully on the positive side.
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My boys asked me to write beautiful letters for their ex-girls so they could get them back. I thought, 'I should be writing songs for myself.'
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I've really written my books for my husband and our family. They've brought us closer together by allowing us to discuss things that were unspoken for so long.
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I'm not a walking extra in a Chekhov play; I'm no Slavic gloom or Irish gloom.
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You have to be talented. You have to work hard; you have to get the right pieces flowin' for you at the right time. And that's just what happened to me. I can't explain what happened.
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I make the music my ears want to hear, I wear the clothes my body wants to wear and the ones boys call me back for, and I generally make the songs that my feet dance to.
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The whole problem of the sound-work is distancing oneself from the dramatic.
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What appeals about the '70s is the celebration of the female form, the lack of constriction.
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There was Pauline de Rothschild, who I thought was very fabulous, and Millicent Rogers, the Standard Oil heiress, very chic, very clever, very original. I admired both those women very much. And I had a great example with my mother, who was extremely chic.
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I learned quickly, as I tell my graduate students now, there are no answers in the back of the book when the equipment doesn't work or the measurements look strange.
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I work with a charity called Donate My Dress. It's got chapters all over the country where you can donate special-occasion dresses. Prom is a big deal when you're 15 years old, and it enables girls who don't have the money to come in and choose something special.
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I didn't work on the killing floor. I worked in the section where you break the meat down and package it.
