Actress Good Morning Quotes

I am illegitimate," she said distinctly, as if he were a foreigner trying to learn English. "You are a viscount. You can't marry a bastard." "What about the Duke of Clarence? He had ten bastard children by that actress...what was her name..." "Mrs. Jordan." "Yes, that one, Their children were all illegitimate, but some of them married peers." "You're not the Duke of Clarence." "That's right. I'm not a blueblood any more than you are. I inherited the title purely by happenstance" "That doesn't matter. If your married me, it would be scandalous and inappropriate, and doors would be closed to you." "Good God, woman, I let two of my sisters marry Gypsies. Those doors have already been closed, bolted, and nailed shut.

A veteran, calm and assured, he pauses for a well-measured moment in the doorway of the office and then, boldly, clearly, with the subtly modulated British intonation which his public demands of him, speaks his opening line, 'Good morning!' And the three secretaries - each of them a charming and accomplished actress in her own chosen style - recognise him instantly, without even a flicker of doubt, and reply 'Good morning' to him. (There is something religious here, like responses in church; a reaffirmation of faith in the basic American dogma, that it is, always, a Good Morning. Good, despite the Russians and their rockets, and all the ills and worries of the flesh. For of course we know, don't we, that the Russians and the worries are not real? They can be unsought and made to vanish. And therefore the morning can ve made to be good. Very well then, it is good.

The Loneliness of the Military Historian Confess: it's my profession that alarms you. This is why few people ask me to dinner, though Lord knows I don't go out of my way to be scary. I wear dresses of sensible cut and unalarming shades of beige, I smell of lavender and go to the hairdresser's: no prophetess mane of mine, complete with snakes, will frighten the youngsters. If I roll my eyes and mutter, if I clutch at my heart and scream in horror like a third-rate actress chewing up a mad scene, I do it in private and nobody sees but the bathroom mirror. In general I might agree with you: women should not contemplate war, should not weigh tactics impartially, or evade the word enemy, or view both sides and denounce nothing. Women should march for peace, or hand out white feathers to arouse bravery, spit themselves on bayonets to protect their babies, whose skulls will be split anyway, or,having been raped repeatedly, hang themselves with their own hair. There are the functions that inspire general comfort. That, and the knitting of socks for the troops and a sort of moral cheerleading. Also: mourning the dead. Sons,lovers and so forth. All the killed children. Instead of this, I tell what I hope will pass as truth. A blunt thing, not lovely. The truth is seldom welcome, especially at dinner, though I am good at what I do. My trade is courage and atrocities. I look at them and do not condemn. I write things down the way they happened, as near as can be remembered. I don't ask why, because it is mostly the same. Wars happen because the ones who start them think they can win. In my dreams there is glamour. The Vikings leave their fields each year for a few months of killing and plunder, much as the boys go hunting. In real life they were farmers. The come back loaded with splendour. The Arabs ride against Crusaders with scimitars that could sever silk in the air. A swift cut to the horse's neck and a hunk of armour crashes down like a tower. Fire against metal. A poet might say: romance against banality. When awake, I know better. Despite the propaganda, there are no monsters, or none that could be finally buried. Finish one off, and circumstances and the radio create another. Believe me: whole armies have prayed fervently to God all night and meant it, and been slaughtered anyway. Brutality wins frequently, and large outcomes have turned on the invention of a mechanical device, viz. radar. True, valour sometimes counts for something, as at Thermopylae. Sometimes being right - though ultimate virtue, by agreed tradition, is decided by the winner. Sometimes men throw themselves on grenades and burst like paper bags of guts to save their comrades. I can admire that. But rats and cholera have won many wars. Those, and potatoes, or the absence of them. It's no use pinning all those medals across the chests of the dead. Impressive, but I know too much. Grand exploits merely depress me. In the interests of research I have walked on many battlefields that once were liquid with pulped men's bodies and spangled with exploded shells and splayed bone. All of them have been green again by the time I got there. Each has inspired a few good quotes in its day. Sad marble angels brood like hens over the grassy nests where nothing hatches. (The angels could just as well be described as vulgar or pitiless, depending on camera angle.) The word glory figures a lot on gateways. Of course I pick a flower or two from each, and press it in the hotel Bible for a souvenir. I'm just as human as you. But it's no use asking me for a final statement. As I say, I deal in tactics. Also statistics: for every year of peace there have been four hundred years of war.

We have snacks, everybody!” “Where’d you get them from, Delaware?” Ben asked. He was glaring behind me, where Sage leaned casually against the wall. “Practically,” I said. “My fault-I was dying for Red Hots. Pretty much impossible to find. So what movie are we watching?” Back in the cave, Sage had told me I wasn’t much of an actress, and apparently he was right. I thought I put on a brilliant show, but Ben’s eyes were filled with suspicion, Rayna looked like she was ready to pounce, and Sage seemed to be working very hard to stifle his laughter. Rayna yawned. “Can’t do it. I’m so tired. I’m sorry, but I have to kick you guys out and get some sleep.” She wasn’t much better at acting than I was. I knew she wanted to talk, but the idea of being away from Sage killed me. “No worries,” I said. “I can bring he snacks to the guys’ room. We can watch there and let you sleep.” “Great!” Ben said. Rayna gaped, and in the space of ten seconds, she and I had a full conversation with only our eyes. Rayna: “What the hell?” Me: “I know! But I want to hang out with Sage.” Rayna: “Are you insane?! You’ll be with him for the rest of your life. I’m only with you until morning!” I couldn’t fight that one. She was right. “Actually, I’m pretty tired too,” I said. I even forced a yawn, though judging from Sage’s smirk, it wasn’t terribly convincing. “You sure?” Ben asked. He was staring at me in a way that made me feel X-rayed. “Positive. Take some snacks, though. I got dark chocolate M&Ms and Fritos.” “Sounds like a slumber party!” Rayna said. “Absolutely,” Sage deadpanned. “Look out, Ben-I do a mean French braid.” Ben paid no attention. He had moved closer and was looking at me suspiciously, like a dog whose owner comes from after playing with someone else’s pet. I almost thought he was going to smell me. “G’night,” he said. He had to brush past Sage to get to the door, but he didn’t say a word to him. Sage raised an amused eyebrow to me. “Good night, ladies,” he said, then turned and followed Ben out. It hurt to see him go, like someone had run an ice cream scoop through my core, but I knew that was melodramatic. I’d see him in the morning. We had our whole lives to be together. Tonight he could spend with Ben. I laughed out loud, imagining the two of them actually cheating, snacking, and French braiding each other’s hair as they sat cross-legged on the bed. Then a pillow smacked me in the side of the head. “’We can watch there and let you sleep’?” Rayna wailed. “Are you crazy?” “I know! I’m sorry. I took it back, though, right?” “You have two seconds to start talking, or I reload.” Before now, if anyone had told me that I could have a night like tonight and not want to tell Rayna everything, I’d have thought they were crazy. But being with Sage was different. It felt perfectly round and complete. If I said anything about it, I felt like I’d be giving away a giant scoop of it that I couldn’t ever get back. “It was really nice,” I said. “Thanks.” Rayna picked up another pillow, then let it drop. She wasn’t happy, but she understood. She also knew I wasn’t thanking her just for asking, but for everything. “Ready for bed?” she asked. “We have to eat the guys to breakfast so they don’t steal all the cinnamon rolls.” I loved her like crazy.

So now George has arrived. He is not nervous in the least. As he gets out of his car, he feels an upsurge of energy, of eagerness for the play to begin. And he walks eagerly, with a springy step, along the gravel path past the Music Building toward the Department office. He is all actor now—an actor on his way up from the dressing room, hastening through the backstage world of props and lamps and stagehands to make his entrance. A veteran, calm and assured, he pauses for a well-measured moment in the doorway of the office and then, boldly, clearly, with the subtly modulated British intonation which his public demands of him, speaks his opening line: "Go od morning!" And the three secretaries—each one of them a charming and accomplished actress in her own chosen style—recognize him instantly, without even a flicker of doubt, and reply "Good morning!" to him. (There is something religious here, like responses in church—a reaffirmation of faith in the basic American dogma that it is, always, a good morning. Good, despite the Russians and their rockets, and all the ills and worries of the flesh. For of course we know, don't we, that the Russians and the worries are not really real? They can be un-thought and made to vanish. And therefore the morning can be made to be good. Very well then, it is good.)

He took a breath. He could feel his anxiety fade; he could feel himself returning to who he was. 'But would you sing with me?' Every morning for the past two months, they had been singing with each other in preparation for Duets. In the film, his character and the character's wife led an annual Christmas pageant, and both he and the actress playing his wife would be performing their own vocals. The director had sent him a list of songs to work on, and Jude had been practicing with him: Jude took the melody, and he took the harmony. 'Sure,' Jude said. 'Our usual?' For the past week, they'd been working on 'Adeste Fideles,' which he would have to sing a cappella, and for the past week, he'd been pitching sharp at the exact same point, at 'Venite adoremus,' right in the first stanza. He'd wince every time he did it, hearing the error, and Jude would shake his head at him and keep going, and he'd follow him until the end. 'You're overthinking it,' Jude would say. 'When you go sharp, its because you're concentrating too hard on staying on key; just don't think about it, Willem, and you'll get it.' That morning, though, he felt certain he'd get it right. He gave Jude the bunch of herbs, which he was still holding, and Jude thanked him, pinching its little purple flowers between his fingers to release its perfume. 'I think it's a kind of perilla,' he said, and held his fingers up for Willem to smell. 'Nice,' he said, and they smiled at each other. And so Jude began, and he followed, and he made it through without going sharp. And at the end of the song, just after the last note, Jude immediately began singing the next song on the list, 'For Unto Us a Child Is Born,' and after that, 'Good King Wenceslas,' and again and again, Willem followed. His voice wasn't as full as Jude's, but he could tell in those moments that it was good enough, that it was maybe better than good enough: he could tell it sounded better with Jude's, and he closed his eyes and let himself appreciate it. They were still singing when the doorbell chimed with their breakfast, but as he was standing, Jude put his hand on his wrist, and they remained there, Jude sitting, he standing, until they had sung the last words of the song, and only after they had finished did he go to answer the door. Around him, the room was redolent of the unknown herb he'd found, green and fresh and yet somehow familiar, like something he hadn't known he had liked until it had appeared, suddenly and unexpectedly, in his life.

Excerpted From Chapter One “Rock of Ages” floated lightly down the first floor corridor of the Hollywood Hotel’s west wing. It was Sunday morning, and Hattie Mae couldn’t go to church because she had to work, so she praised the Lord in her own way, but she praised Him softly out of consideration for the “Do Not Disturb” placards hanging from the doors she passed with her wooden cart full of fresh linens and towels. Actually Sundays were Hattie Mae’s favorite of the six days she worked each week. For one thing, her shift ended at noon on Sundays. For another, this was the day Miss Lillian always left a “little something” in her room to thank Hattie Mae for such good maid service. Most of the hotel’s long-term guests left a little change for their room maids, but in Miss Lillian’s case, the tip was usually three crinkly new one dollar bills. It seemed like an awful lot of money to Hattie Mae, whose weekly pay was only nineteen dollars. Still, Miss Lillian Lawrence could afford to be generous because she was a famous actress in the movies. She was also, Hattie Mae thought, a very fine lady. When Hattie Mae reached the end of the corridor, she knocked quietly on Miss Lillian’s door. It was still too early for most guests to be out of their rooms, but Miss Lillian was always up with the sun, not like some lazy folks who laid around in their beds ‘til noon, often making Hattie Mae late for Sunday dinner because she couldn’t leave until all the rooms along her corridor were made up. After knocking twice, Hattie Mae tried Miss Lillian’s door. It opened, so after selecting the softest towels from the stacks on her cart, she walked in. With the curtains drawn the room was dark, but Hattie Mae didn’t stop to switch on the overheard light because her arms were full of towels. The maid’s eyes were on the chest of drawers to her right where Miss Lillian always left her tip, so she didn’t see the handbag on the floor just inside the door. Hattie Mae tripped over the bag and fell headlong to the floor, landing inches from the dead body of Lillian Lawrence. In the dim light Hattie Mae stared into a pale face with a gaping mouth and a trickle of blood from a small red dot above one vacant green eye. Hattie Mae screamed at the top of her lungs and kept on screaming.