Adolf Loos Quotes
The Potemkin city of which I wish to speak here is none other than our dear Vienna herself.
Quotes to Explore
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I started to work in television for three or four years, in 1954. There was one channel of television, black and white. But it could be entertaining and educational. During the evening they showed important plays, opera or Shakespeare's tragedies.
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My family and I had to overcome a lot to get where we are today.
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I am very proud of the role I played in getting legal equality for people who are lesbian, gay, bisexual and transgender, and in helping get rid of the prejudice by being visible about it, helping to block the conviction of Bill Clinton of impeachment.
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Anything that instills a sense of hope will at least temporarily help treat depression.
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All my brothers and my dad at one point had dreadlocks.
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What is necessary to change a person is to change his awareness of himself.
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You've got to love acting and that's true for me. I love the idea of getting on stage and getting in front of a camera.
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You promised to take care of me and not to turn your back on me. How is it possible that you never wrote to me even once and you never came back to see me? Do you think that it is fun for me to spend months, even years, without any news, without any hope!
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I used to wear miniskirts with my GB top, and sparkly sandals, and the boys would be like: 'Oh my gosh, this girl cannot be serious.'
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Part of adulthood is searching for the people who understand you.
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I won't be in gay parades - I don't think they need them. I believe in class - I believe that people should have a bit of class about them.
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You can't come into this world without becoming its victim.
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I think the one that's going to be the hardest to make into a film is the one that's probably going to be made into a film, which is 'The Art of Racing in the Rain.' I mean, it's narrated by a dog. How do you do that? But hopefully we'll get to see.
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However, we still have the problem of free travel and movement, since the Travel Documents issued by UNMIK as the substitute to passports, are not fully recognized yet by all countries.
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I love drama. Drama is, like, my thing. I want a movie that will move something inside me, that's going to shift something and keep me thinking.
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I remember auditioning for record labels and having them tell me, 'Well, the country-radio demographic is the thirty-five-year-old female housewife. Give us a song that relates to the thirty-five-year-old female, and we'll talk.'
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I didn't come from the elites. I didn't come from the Northeast or from San Francisco. I came from a southern Ohio steel town, and it's a town that's really struggling in a lot of ways, ways that are indicative of the broader struggles of America's working class.
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My driver Kellie Frost and I would race these fellows home and they were always faster on the highway. We did the same with Daniel and his driver, and thus began a long series of jokes and competitions to alleviate the impossible hours and tensions this film provoked.
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For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.
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So often, I think, in these relationship comedies, they don't necessarily reflect the people that I know. They don't reflect myself.
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I belong to a specific category of writers, those who speak and write in a language different from that of their parents.
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When I have trouble sleeping, I'll read, watch old episodes of 'Sex and the City,' or dance around my house. Music helps me wind down.
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The Potemkin city of which I wish to speak here is none other than our dear Vienna herself.
