Breakfast Club Quotes
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I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.
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If you can turn your wants into your needs, you can do anything.
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You can only be free as an artist if you're free as a person.
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You realise that having a number one record and being loved and adored isn't the most important thing in the world. But at the same time, I don't have a problem with it. What I'm trying to say is, I'm not a reluctant pop star.
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Imagine if someone like John Lennon or Bob Marley, Sid Vicious, Picasso, whomever, were doing their work, and some corporation, some CEO, some branding entity was saying to you, 'Well, you can do that, but you've got to remove this aspect of your work.' There would no longer be that purity anymore.
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My physical transformations - like changing my hair - are usually a reflection of what's inspiring me at the moment.
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When I left Michigan and I came to New York, that was my goal, to be a professional dancer. And I sort of fell into singing by accident in a way.
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My screenwriting credits in my career are probably not dissimilar to some other ones in the sense that a lot of the scripts you write don't get made, and the ones that do get made are certainly - as a writer, they're not your vision.
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I have a strong desire to communicate what I feel about the world. That's exciting to me.
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Obviously, I feel a great sense of responsibility being a good parent and raising my children. I don't take that job very lightly. Who they are, what they become and what they contribute to the world is very important to me.
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It's smarter to look at portions than to count calories.
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When I first moved to New York, I wanted to be a dancer. I danced professionally for years, living a hand-to-mouth existence. I never tapped into nightlife; all I knew was dancers. We went to bed early and got up early and went to free concerts at the Lincoln Center and Shakespeare in the Park.
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When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
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I think in the end, when you're famous, people like to narrow you down to a few personality traits. I think I've just become this ambitious, say-whatever's-on-her-mind, intimidating person. And that's part of my personality, but it's certainly not anywhere near the whole thing.
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The real reason why people are going with digital is that it's extraordinarily mobile, and it's cheaper, and it has a great image, and you just can't beat it at night. It's pulling in variations of colors; it's pulling in lights from 40 miles away - a candle would be seen.
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Prince Charles is very relaxed at the table, throwing his salad around willy-nilly. I didn't find him stiff at all.
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Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.
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I don't go to the sale rack. But I wouldn't say I am decadent in my spending. I am careful.
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If you look at the charts every year, there may be five or ten memorable songs from each year.
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I'm an enormous Tim Burton fan.
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You can never go more than three or four hours without having something to nibble on or eat - you have to graze all day long.
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I know I'm not the greatest singer or dancer, but that doesn't interest me. I'm interested in being provocative and pushing people's buttons.
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In this business, my business, I get to meet all kinds of incredible people, fascinating people, glamorous people and sexy people and highly intellectual people. And you meet them and you go 'interesting, interesting, interesting'. They're interesting, but not very many people stop you in your tracks.
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I'm often stunned when I come up over Mulholland, and I'm looking down at the Valley, and I can see for thirty miles; I can see the mountains, or all the way to the ocean.