Marie Helvin Quotes
Quotes to Explore
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My memory of my home was that it was very happy, and that there was more fun and life there than there was anywhere else.
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The decathlon takes so long to learn that people who are good athletes don't want to go back to the beginning again.
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I'll never do a film because it's a massive budget and I'm gonna get lots of publicity for it and it will bring something else.
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I actually started playing in little cafes around New York, and I have a lot of good friends of mine who are musicians who are struggling in New York.
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He that climbs the tall tree has won right to the fruit, He that leaps the wide gulf should prevail in his suit.
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We wanted to describe society from our Left point of view. Per had written political books, but they'd only sold 300 copies. We realised that people read crime and through the stories we could show the reader that under the official image of welfare-state Sweden there was another layer of poverty, criminality and brutality.
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There's a general culture in this country to cut all the trees. It makes me so angry because everyone is cutting and no one is planting.
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I would never want to be selected to a team just because I am going to set a record. It's critical to me to earn my way.
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I used to play all the time. I would play football when it was light and read when it was dark.
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I was told that, when 'Betrayal' was being produced by one of the provincial companies in England, the two actors playing those roles actually went into a pub one day and played that scene as if it were really happening to them. The people around them became very uncomfortable.
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I was halfway through a rough draft of 'The Sisters Brothers' when it came time to start the 'Terri' adaptation.
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If you go to Africa and you're white, you're probably not going to get that much work either. But the fact is that there is a longer history of black integration in the U.S. I don't have any resentment about this: I did the maths, calculated it against my ambition and decided to leave England.
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I can't say that winning the Pen/Faulkner was a dream come true because I would never have dared to dream it.
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I want to be a major force.
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I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.
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In the life of any actor or actress, there is inevitably a time when they will be eligible to act in a Tom Stoppard play. He has written a lot, and they are revived often, and there are so many characters of different ages that it was more likely I'd end up in something of his than that I wouldn't.
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I am much more understanding of people than I used to be when I was young - people were either villainous or wonderful. They were painted in very bright colours. The bad side of it - and there is a corollary to everything - is that when we get older, we fuss more. I used to despise people who fussed.
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The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
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Most of my inspiration comes from mistakes, so every time I make a massive mistake, that usually affects me so much that I have to process that via song.
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When they did the Olympics in Seoul - or elsewhere - didn't each host country try to show its greatness to the world viewing audience?
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If the same phrase in the same place created the right effect, I was perfectly prepared to use it every time. I wasn't worried that I wasn't improvising.
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In a minimal interior, what you don't do is as important as what you do.
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Monogamy is not something that's important to me. I don't think it defines love.
