Camille Paglia Quotes
Quotes to Explore
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I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'
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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 you're a producer and an artist you're very critical of yourself. I like to produce other people, but I'm not that good at producing myself.
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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've got nothing very original to say myself.
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Even if a university should turn out to be another version of a school, I had decided I could lose myself afterwards as an anonymous particle of the London I already loved.
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I like to work all the time and really immerse myself in the project.
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I love talking about myself.
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My mom just understands about stuff. We have a really good trust, and she knows I can take care of myself.
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To praise it would amount to praising myself. For the entire content of the work... coincides almost exactly with my own meditations which have occupied my mind for the past thirty or thirty-five years.
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An incident that left an impression on me was the 1999 sub-junior national boxing championship held in Calcutta. I had trained extremely hard to get there but got kicked out in the first round itself. 'If others can win, why can't you?' I repeatedly asked myself.
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Every story I create, creates me. I write to create myself.
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I never set out to become 'famous.' I mean, when you're 14 you think 'I'm gonna become a writer and people will want my autograph and that'll be cool,' but you grow up and you learn that's just not how the world works. I resigned myself to the fact that I would probably never be published and if I did it probably wouldn't be a big deal.
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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 was also the romantic lead in The Boston Strangler - I was the only one that lived to tell the story - so I called myself the romantic lead.
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The only thing I'd ever wanted in my life was to be a major-league ballplayer, but I had to admit to myself that I wasn't good enough. It broke my heart.
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I have this phobia: I don't like mirrors. And I don't watch myself on television. If anything comes on, I make them shut it off, or I leave the room.
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I'm never in my life going to do a record that's a tribute to myself. I don't need it.
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I find that talking about myself is often the most boring thing in the world. Sixty per cent of interviews I find mechanical.
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As a young physician in the mid-'80s, caring for people who had contracted H.I.V., I lost two of my patients to suicide at a time when the virus was doing very little harm to them. I have always thought of them as having been killed by a metaphor, by the burden of secrecy and shame associated with the disease.
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For music, I always just played music myself - and, I had rock bands and wrote songs and put bands together that were loud, but not especially good. That was sort of the place music had in my career.
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I decided I would go to Chicago and try my luck as a writer after those eight months as a fireman.
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PepsiCo did not have a woman in the senior ranks, nor a foreign-born person who was willing to think differently.
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I consider myself not a conservative libertarian but a radical '60s libertarian.
