Ida Lupino Quotes
Quotes to Explore
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I won't allow myself to have tremendous fear.
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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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There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
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Winning is great, but being able to finish my last Olympic Games on American soil was very important. Even though I was injured, I didn't let my psyche get the best of me and cause me to doubt myself, so I was willing to pull every muscle in my body in '96 in order to get the job done and I came away with the bronze medal.
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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 don't have the looks to compete at a bar, and I'm not that funny. So the last thing I want is to be in a situation where that's what I'm competing on. I'd rather be on OkCupid or Match, where I can write a 300-word essay about myself that's really good.
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I allow myself to fail. I allow myself to break. I'm not afraid of my flaws.
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I pride myself on not being run of the mill. I don't want to be your umpteenth Fantine in 'Les Miz.'
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Every story I create, creates me. I write to create myself.
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I was 25 years old when I arrived in D.C. It was just myself and two people who worked and helped me in the kitchen. I was only cooking for three people most of the time.
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In Europe and Sweden, we see boobs on TV, and it's not a big deal. Everyone has them; everyone has seen them.
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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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Obviously, you want to honour the sound of your music, but I'm definitely open to trying new things and making myself use a different palette of sounds.
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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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I've always been a feminist, and what I love in my work is being able to explore a full-sided woman and not patronize her.
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I look at myself as an audience member. I still love movies, and I still go and sit in the back of the big dark room with everybody else, and I want the same thrill.
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I tend to see my characters from inside and outside at once; this is a technique I use to retain a slight distance. It means my characters can act in unexpected ways on two axes: physical and mental. It isn't just, 'I thought this and then I did this,' which is the technique of the modern psychological novel.
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Max Minghella is a very close friend of mine, and I talk to him regularly.
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Groan and forget it.
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Executive ability is deciding quickly and getting somebody else to do the work.
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I didn't see myself as any advance guard, or feminist.
