Kate Smith Quotes
Quotes to Explore
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I can think of no one that my grandparents knew, that told me stories and that I experienced myself, had any sense of social inferiority growing up in segregated Washington. None whatsoever.
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If I really believe that visual representation and narrative are ways to convey important, complex ideas, and if the world is gravitating toward this form, then geez, I better do it myself. I want to do it myself.
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A little bit of stage fright, then I'm ready.
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I'm not on fire for the Lord, so I tried to make myself generate this fire for the Lord.
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When I was 16, I filmed an episode of 'Full House' where my family goes to Disney World. I remember putting on baggy overalls just to hide my stomach. When I watched it, I was pretty disappointed and bummed out looking at myself... I didn't feel good about my own body.
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I second-guess myself all the time. I make a decision and then wonder if I made the wrong choice.
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I've planned book tours for myself, whether or not anybody wants to hear what I have to say. I've weighed in on things like what the cover looks like, what the copy looks like, how it's going to be promoted - just every aspect of it.
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I'm the youngest of four, but my closest sibling is 10 years older. I had a lot of imagination. I was running around playing little games by myself. But I never thought I was going to be an actor.
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My dream as an actor growing up was always to challenge myself to different genres, different roles, and it's actually rare that an actor's given that opportunity to do that.
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I got discovered off of YouTube.
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Every story I create, creates me. I write to create myself.
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I wrote 'Criminal' in 45 minutes when everyone else went to lunch because I had to have a hit. I can force myself to do the work, but only if someone is right up behind me.
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I base myself in African-derived music. Blues is one of the modern forms of African music.
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If I see someone doing a new sport, I usually like to throw myself into it, and I never look at it and think, 'That's something I can't do.'
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I was a Labour Party man but I found myself to the left of the Labour party in Nelson, militant as that was. I came to London and in a few months I was a Trotskyist.
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In 1994, after four years of talking about travel on my first show, I realized I knew so little about the world - I knew so little about myself. I decided to quit my job and pursue a postgraduate degree in New York.
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I did a play called 'On Golden Pond' in a dinner theater in Maine and then went to New York for a talent competition having put together a three-man juggling routine and some one-liners and I got myself an agent from that.
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I put myself out there; it's part of my job, and I get it: people will attack me. At first I was thrown off, but now I have a pretty thick skin about it.
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I think feminism is that you just have to stick it all out. I remember this one time when someone interviewed me, and I was young, and they said, 'Do you see yourself as a feminist?' And I was like, 'I don't know. I'm not really comfortable calling myself a feminist.'
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I don't mind arguing with myself. It's when I lose that it bothers me.
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Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a children's party taken over by the elders.
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I quite like the element of surprise, and as much as I have my ideas, I always appreciate ideas that come from other people as well, and I love the mystery of not knowing.
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My father's drinking was sometimes a problem. And a great deal went unspoken. He was not particularly acute or articulate about the emotions. But he was very affectionate towards me.
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I could not separate myself off stage from myself on stage, as so many actors can.
