Actress Inspirational Quotes

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It just goes to show that if you tell a woman her only skill is to be desirable, she will believe you.
Taylor Jenkins Reid (The Seven Husbands of Evelyn Hugo)
Patience is the only way you can endure the gray periods.
Teri Hatcher (Burnt Toast: And Other Philosophies of Life)
People never forget two things, their first love and the money they wasted watching a bad movie.
Amit Kalantri
Audience can live without a movie but a movie cannot live without an audience.
Amit Kalantri (Wealth of Words)
I’m not going to let my insecurities keep me from having a good time. I think that if you don’t loose your self-consciousness, you can’t really be present in a situation. For example, if you’re at The Louvre, but you’re thinking about how much you hate your jeans, you’re not really at The Louvre. So in your memory, when you look back, you’re always going to be like, “I was wearing those jeans I hated”. And you’re not going to remember anything else.
Christina Ricci
For an actress to be a success, she must have the face of Venus, the figure of Juno, the brains of Minerva, the memory of Macaulay, the chastity of Diana, the grace of Terpsichore, but, above and beyond all, the hide of a rhinoceros.
Madge Kendal (Dame Madge Kendal, By Herself)
What keeps you confident in a healthy way is knowing that everyone else around you is going to support you and teach you and you're going to learn from them. I just feel open to learning from people.
Elizabeth Olsen
Make films that purify the soul with the flow of rational, vigorous and compassionate thinking.
Abhijit Naskar (The Film Testament)
Years ago I asked my friend, the great actress Ruth Gordon, to articulate in a few words the secret to her indomitable, unsinkable spirit. Her reply was a gift that became a mantra for me: “It takes courage. It takes believing in it. It takes work. It takes rising above it. It takes me liking you, and you liking me. It takes the dreaming soul of the human race that wants it to go right. Never stop dreaming. Think about it.
Gloria Vanderbilt (The Rainbow Comes and Goes: A Mother and Son on Life, Love, and Loss)
Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.
Abhijit Naskar (The Film Testament)
Give people films, they will forget after a few weeks, but give people ideas, they will assimilate them into their consciousness.
Abhijit Naskar (The Film Testament)
Life is beautiful mess...and I am tangled...though I am the spider but a stupid one. Cheap I am by name, views and actions.
Anum Aforz
Creativity without discipline will struggle, creativity with discipline will succeed.
Amit Kalantri (Wealth of Words)
Acha alama katika dunia baada ya kuondoka.
Enock Maregesi
A Film has the potential to kindle such a spark of inspiration in an individual that it can alter the course of human progress.
Abhijit Naskar
Entertain, but also, give the viewer something to think about.
Abhijit Naskar (The Film Testament)
There aren't too many things that make you feel better than a little kid seeing you, yelling your name and running to you.
Jean Louisa Kelly
They told me to pursue acting, and I replied, "I live with mental illness. I've been an actress my whole life.
Hannah Blum (The Truth About Broken: The Unfixed Version of Self-love)
I do think my story is very unique because having a partial disability, you are deemed by society as someone who is born to fail. This alone had made me more determined to succeed not just for myself but for the Deaf community as well. Hence my motto in life is to live a purpose driven life, be an example to the lost in the world and to leave a legacy.
Jenelle Joanne Ramsami
Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.
Abhijit Naskar (The Film Testament)
Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.
Abhijit Naskar (The Film Testament)
Take the clapper and become the alarm that the world so desperately needs.
Abhijit Naskar (The Film Testament)
Use filmmaking to eliminate racism – use to it terminate misogyny – use it to destroy homophobia and all other primitiveness.
Abhijit Naskar (The Film Testament)
There are two powers in this world which cannot be matched. Beauty and Youth. Buy the beauty and imprison the youth. Give the best models, actress, and girls from town and nail them. I do not care how much it costs.
Ravindra Shukla (A Maverick Heart: Between Love and Life)
This year I turn 40, still single, but filled with a sense of wholeness and completeness that I have never felt before. I am unafraid to chase my passions, pursue my dreams, and conquer even the tallest of mountains.
Yvonne Padmos
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.
Margaret Atwood (Morning In The Burned House: Poems)
My smile lights up a million stars always. I create beauty with my hands and I radiate beauty from within. I make a fashion statement wherever I go and I always see beauty wherever I go. Life is an experience that brings out the best in me. I triumph when my days are blue because I know my next experience will be much brighter than my worst. I am unique, beautiful, positive , strong-willed lady and above all, I welcome a challenge because that's what makes me who I am and I am an over-comer
Jenelle Joanne Ramsami
In 2003, Meryl Streep won a career achievement César Award, the French equivalent of an Oscar. Streep’s words (my translation) acknowledged the enduring interest of French audiences in women’s lives and women’s stories: "I have always wanted to present stories of women who are rather difficult. Difficult to love, difficult to understand, difficult to look at sometimes. I am very cognizant that the French public is receptive to these complex and contradictory women. As an actress I have understood for a long time that lies are simple, seductive and often easy to pass off. But the truth—the truth is always very very very complicated, often unpleasant, nuanced or difficult to accept." In France, an actress can work steadily from her teens through old age—she can start out in stories of youthful rebellion and end up, fifty years later, a screen matriarch. And in the process, her career will end up telling the story of a life—her own life, in a sense, with the films serving, as Valeria Bruni Tedeschi puts it, as a “journal intime,” or diary, of one woman’s emotions and growth. No wonder so many French actresses are beautiful. They’re radiant with living in a cinematic culture that values them, and values them as women. And they are radiant with living in a culture—albeit one with flaws of its own—in which women are half of who decides what gets valued in the first place. Their films transcend national and language barriers and are the best vehicles for conveying the depth and range of women’s experience in our era. The gift they give us, so absent in our own movies, is a vision of life that values emotional truth, personal freedom and dignity above all and that favors complexity over simplicity, the human over the machine, maturity over callowness, true mysteries over false explanations and an awareness of mortality over a life lived in denial. In the luminous humanity of their faces and in the illuminated humanity of their characters, we discover in these actresses something much more inspiring than the blank perfection and perfect blankness of the Hollywood starlet. We discover the beauty of the real.
Mick LaSalle (The Beauty of the Real: What Hollywood Can Learn from Contemporary French Actresses)
It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.
Bill Bryson (One Summer: America, 1927)
A movie is not a movie, it is a potential nuclear furnace of inspiration, courage and conscience.
Abhijit Naskar (The Film Testament)
The art of filmmaking is the most influential form of art that has ever existed throughout the history of human artistic endeavors.
Abhijit Naskar (The Film Testament)
Make movies my friend – make nice, inspiring and bold movies that will penetrate the darkest corners of the human mind and illuminate the soul.
Abhijit Naskar (The Film Testament)
Known as “Leni,” Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920’s Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film “Das Blaue Licht.” With the advent of the Hitler era she directed “Triumph des Willens” anf “Olympia” which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the “Eastern Front.” Seeing a bleak future “Leni” Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.
Hank Bracker
The American Dream is a term that is often used but also often misunderstood. It isn't really about becoming rich or famous. It is about things much simpler and more fundamental than that.
Dorothy Dandridge
She knew about pity. Every day, every day, people walked on clouds of illusion. In that play at the Theatre Royal there was an actress who thought herself lovely, and who was plump and too old for the part. The leading actor meant to be brilliant and subtle, yet no single gesture or inflexion was inspired by talent. Clare’s heart was wrung. She suffered for them, loved and shielded them. When they bowed before the curtain and beamed at the applause, tears rolled down her cheeks. It was unbearable. They must never know.
Elizabeth Harrower (The Watch Tower)
Acting awards may come and go, but the impact of my investigative work on the lives of others is everlasting.
Yvonne Padmos
We came to earth to fulfill certain roles or characters, so that future actors and actresses can gain knowledge and insight from the experiences of those who came before them.
Ogunlana Akinola Okikiola
Other wartime activities included designing a radio-controlled torpedo with actress Hedy Lamarr, with whom he shared the patent. He also syndicated a column of advice to the lovelorn, “Boy Advises Girl”. Some claim Antheil inspired Nathanael West’s novel Miss Lonely Hearts.
Robert R. Reilly (Surprised by Beauty: A Listener's Guide to the Recovery of Modern Music)
Never give up. If you have a dream - no.matter what that dream is, whether it be to become a great actress ir to open your very own sweet shop- never stop.dreaming it, because if you do, life becomes one long nightmare
Victoria Connelly
Healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction.
Abhijit Naskar
Healthy entertainment is a beautiful blend of stimuli that can connect with the viewer at a sentimental level, then sow the seeds of a certain idea or feed the mind with inspiration and courage. In short, healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction. This leads to not only an entertained viewer, but also an inspired soul. And that should be the purpose of film-making, and indeed the entire entertainment industry, rather than feeding the general population with garbage.
Abhijit Naskar
People going to Chandni Chowk to get designer copies of lehengas inspired by actresses are now shaming Neha Kakkar on the wedding dress similarity and entirely spoiling her wedding day for her while they stand against Internet bullying. Next time do not go to new market or Chandni Chowk with a picture of a celebrity bride. Design your own lehenga please. We need people to inspire us for originality please.❤️
Bakkaprabhu Uppar
The estate sale was crowded
 But I think the dead actress felt cheated. Things deserve acquisition, not purchase.
 Us customers, searching through her decades, Will never know what it’s like
To earn a good death.
Kristian Ventura (The Goodbye Song)
4. Who cares if you can nail your performance once. I want you to be able to do it over and over, as you would on set when they move from the master shot to the medium shot to the close up and then do the same thing again in the turnaround. That would be impressive to me.  
Murisa Harba Durrant (Acting With Energy: Creating Brilliance Take After Take)
The things you can't do will always outnumber the things you can do, and it doesn't matter. The secret of life is this, as the Actress said to the Bishop, 'Find your thing, and get on with it!
Anthony Chapman (The Barbarians)