Actresses Related Quotes

I’m very worried about the depiction of women on the screen. It’s gotten worse than ever and it’s related to their being either high- or low-class concubines, and the only question is when or where they will go to bed, with whom, and how many. There’s nothing to do with the dreams of women, or of woman as the dream, nothing to do with the quirky part of her, the wonder of her.

For everyone, though, the persona must relate to objects and protect the subject. This is its dual function. While introverts can be very outgoing with a few people, in a large group they shrink and disappear and the persona often feels inadequate, particularly with strangers and in situations in which the introvert does not occupy a defined role. Cocktail parties are a torture, but acting a role on stage may be a pure joy and pleasure. Many famous actors and actresses are quite deeply introverted. In private they may be shy, but given a public role they feel protected and secure and can easily pass as the most extroverted types imaginable.

The brutality of the regime knows no bounds. It does not remain neutral towards the people here; it creates beasts in its own image out of ordinary people who might have been neighbors instead. Even more dangerous was the fact that the fundamentals of humanity and the ABCs of life have been eviscerated from the hearts of many people here. State television destroys human compassion, the sort of fundamental empathy that is not contingent upon a political or even a cultural orientation, and through which one human being can relate to another. The al-Dunya channel stirs up hatred, broadcasts fake news and maligns any opposing viewpoint. I wasn't the only one subjected to internet attacks by the security services and the Ba'thists, even if the campaign against me may be fiercer because I come from the Alawite community and have a lot of family connections to them -- because I am a woman and it's supposedly easier to break me with rumors and character assassinations and insults. Some of my actress friends who expressed sympathy for the children of Dar'a and called for an end to the siege of the city were subjected to a campaign of character assassinations and called traitors, then forced to appear on state television in order to clarify their position. Friends who expressed sympathy for the families of the martyrs would get insulted, they would be called traitors and accused of being foreign spies. People became afraid to show even a little bit of sympathy for one another, going against the basic facts of life, the slightest element of what could be called the laws of human nature -- that is, if we indeed agree that sympathy is part of human nature in the first place. Moral and metaphorical murder is being carried out as part of a foolproof plan, idiotic but targeted, stupid yet leaving a mark on people's souls.

WHEN I INTERVIEWED ISABELLE HUPPERT, I mentioned in passing that she has the strongest body of work of any actress in the world. She insisted otherwise, and I insisted back, and she denied it again, and I conceded that maybe, just maybe, Meryl Streep might be tied with her in the magnificent résumé department. To which Huppert said something quite interesting: "You know, it’s more again a symptom—I mean it really tells something about our relationship to cinema in Europe, which is slightly different [than here in the U.S.]. Here it seems like, you reach a certain point, actresses work less. And maybe also we have this idea to make movies more cultural than entertaining, a more existential thing than here. And so together it makes [for] a different relation to our craft."

Nobody ever talked about what a struggle this all was. I could see why women used to die in childbirth. They didn't catch some kind of microbe, or even hemorrhage. They just gave up. They knew that if they didn't die, they'd be going through it again the next year, and the next. I couldn't understand how a woman might just stop trying, like a tired swimmer, let her head go under, the water fill her lungs. I slowly massaged Yvonne's neck, her shoulders, I wouldn't let her go under. She sucked ice through threadbare white terry. If my mother were here, she'd have made Melinda meek cough up the drugs, sure enough. "Mamacita, ay," Yvonne wailed. I didn't know why she would call her mother. She hated her mother. She hadn't seen her in six years, since the day she locked Yvonne and her brother and sisters in their apartment in Burbank to go out and party, and never came back. Yvonne said she let her boyfriends run a train on her when she was eleven. I didn't even know what that meant. Gang bang, she said. And still she called out, Mama. It wasn't just Yvonne. All down the ward, they called for their mothers. ... I held onto Yvonne's hands, and I imagined my mother, seventeen years ago, giving birth to me. Did she call for her mother?...I thought of her mother, the one picture I had, the little I knew. Karin Thorvald, who may or may not have been a distant relation of King Olaf of Norway, classical actress and drunk, who could recite Shakespeare by heart while feeding the chickens and who drowned in the cow pond when my mother was thirteen. I couldn't imagine her calling out for anyone. But then I realized, they didn't mean their own mothers. Not those weak women, those victims. Drug addicts, shopaholics, cookie bakers. They didn't mean the women who let them down, who failed to help them into womanhood, women who let their boyfriends run a train on them. Bingers and purgers, women smiling into mirrors, women in girdles, women in barstools. Not those women with their complaints and their magazines, controlling women, women who asked, what's in it for me? Not the women who watched TV while they made dinner, women who dyed their hair blond behind closed doors trying to look twenty-three. They didn't mean the mothers washing dishes wishing they'd never married, the ones in the ER, saying they fell down the stairs, not the ones in prison saying loneliness is the human condition, get used to it. They wanted the real mother, the blood mother, the great womb, mother of a fierce compassion, a woman large enough to hold all the pain, to carry it away. What we needed was someone who bled, someone deep and rich as a field, a wide-hipped mother, awesome, immense, women like huge soft couches, mothers coursing with blood, mothers big enough, wide enough, for us to hide in, to sink down to the bottom of, mothers who would breathe for is when we could not breathe anymore, who would fight for us, who would kill for us, die for us. Yvonne was sitting up, holding her breath, eyes bulging out. It was the thing she should not do. "Breathe," I said in her ear. "Please, Yvonne, try." She tried to breathe, a couple of shallow inhalations, but it hurt too much. She flopped back on the narrow bed, too tired to go on. All she could do was grip my hand and cry. And I thought of the way the baby was linked to her, as she was linked to her mother, and her mother, all the way back, insider and inside, knit into a chain of disaster that brought her to this bed, this day. And not only her. I wondered what my own inheritance was going to be. "I wish I was dead," Yvonne said into the pillowcase with the flowers I'd brought from home. The baby came four hours later. A girl, born 5:32 PM.

Humans have undoubtedly evolved mechanisms that assess their own mate value relative to others in their social environment. Ancestral environments were populated with relatively small groups of people containing around 50 to 150 individuals. Assessments of relative mate value were probably fairly accurate. One function of accurate assessments would have been to focus attraction tactics on potential mates within their own mate value range. In our current environment, however, the population is substantially larger, and the images to which individuals are exposed through television and the internet show an unprecedented comparison standard. Fashion models and actresses, for example, are often highly physically attractive. Extremely attractive women are a tiny fraction of the population, yet images of these women are presented at a misleadingly high frequency. This might have the effect of artificially lowering women’s judgments of their value as a potential mate relative to competitors in the local pool of potential mates. This, in turn, might escalate intrasexual competition between women or cause them to take drastic measures to try to increase their attractiveness—a possible cause of body image problems, eating disorders such as anorexia and bulimia, or depression (Faer et al., 2005).

In a Harvard Business Review article titled “Do Women Lack Ambition?” Anna Fels, a psychiatrist at Cornell University, observes that when the dozens of successful women she interviewed told their own stories, “they refused to claim a central, purposeful place.” Were Dr. Fels to interview you, how would you tell your story? Are you using language that suggests you’re the supporting actress in your own life? For instance, when someone offers words of appreciation about a dinner you’ve prepared, a class you’ve taught, or an event you organized and brilliantly executed, do you gracefully reply “Thank you” or do you say, “It was nothing”? As Fels tried to understand why women refuse to be the heroes of their own stories, she encountered the Bem Sex-Role Inventory, which confirms that society considers a woman to be feminine only within the context of a relationship and when she is giving something to someone. It’s no wonder that a “feminine” woman finds it difficult to get in the game and demand support to pursue her goals. It also explains why she feels selfish when she doesn’t subordinate her needs to others. A successful female CEO recently needed my help. It was mostly business-related but also partly for her. As she started to ask for my assistance, I sensed how difficult it was for her. Advocate on her organization’s behalf? Piece of cake. That’s one of the reasons her business has been successful. But advocate on her own behalf? I’ll confess that even among my closest friends I find it painful to say, “Look what I did,” and so I don’t do it very often. If you want to see just how masterful most women have become at deflecting, the next time you’re with a group of girlfriends, ask them about something they (not their husband or children) have done well in the past year. Chances are good that each woman will quickly and deftly redirect the conversation far, far away from herself. “A key type of discrimination that women face is the expectation that feminine women will forfeit opportunities for recognition,” says Fels. “When women do speak as much as men in a work situation or compete for high-visibility positions, their femininity is assailed.” My point here isn’t to say that relatedness and nurturing and picking up our pom-poms to cheer others on is unimportant. Those qualities are often innate to women. If we set these “feminine” qualities aside or neglect them, we will have lost an irreplaceable piece of ourselves. But to truly grow up, we must learn to throw down our pom-poms, believing we can act and that what we have to offer is a valuable part of who we are. When we recognize this, we give ourselves permission to dream and to encourage the girls and women

Marita Lorenz, born on August 18, 1939, in Bremen, Germany, was best known for her undercover work with the CIA. She was the daughter of Captain Heinrich Lorenz, master of the S/S Bremen IV, a German passenger ship, and her mother, an American actress, was related to Ambassador Henry Cabot Lodge, Jr. Arriving in Havana on her father’s ship in 1959, she met Fidel who talked about improving the Cuban tourist business. It was obvious that he was taken by the beautiful 19-year-old brunette, and upon hearing that she was fluent in multiple languages, asked if she would translate some letters for him. She happily agreed and although continuing on to New York, she was persuaded to return to Havana to do the translations. When Castro arrived in her room, he revealed his true motives, which at the time repelled her. The next day when Castro reappeared things were vastly different.

June 27: Sidney Fields is the first columnist to write about Marilyn, commenting in the New York Mirror: “Marilyn is a very lovely and relatively unknown movie actress. But give her time; you will hear from her.

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.

Hammerstein’s transformation of Kim from serious actress to musical comedy star would foil Ferber’s critique entirely, leading to a totally different conclusion as to how the past and present related to each other.

shame, such a waste, that Dallas died. It’s so tragically sad that she fell prey to the same greed and darkness that her relatives did before her. There was something bright and special about her. She could have done so much more. She could have been a real actress, for one. She was gifted, unusual, one of a kind.

He for a considerable time used to frequent the Green Room, and seemed to take delight in dissipating his gloom, by mixing in the sprightly chit-chat of the motley circle then to be found there. Mr. David Hume related to me from Mr. Garrick, that Johnson at last denied himself this amusement, from considerations of rigid virtue; saying, ‘I’ll come no more behind your scenes, David; for the silk stockings and white bosoms of your actresses excite my amorous propensities.

To look at Mattel as a relative of the Hollywood studios is to make sense of some of its contradictions. The daughter of a Polish Jewish immigrant, Ruth Handler coded with her fashion dolls the same sort of phantasmic "America" that Louis B. Mayer had coded in his movies. Barbie was, in fact, better suited than a human actress to exemplify an impossible ideal. There was no tribal taint in her plastic flesh, no baggage to betray an immigrant past. She had no navel; no parents; no heritage.

Lane kept trying to find her happiness in men, but it didn’t work. Is that something you relate to personally?

In a Harvard Business Review article titled “Do Women Lack Ambition?” Anna Fels, a psychiatrist at Cornell University, observes that when the dozens of successful women she interviewed told their own stories, “they refused to claim a central, purposeful place.” Were Dr. Fels to interview you, how would you tell your story? Are you using language that suggests you’re the supporting actress in your own life? For instance, when someone offers words of appreciation about a dinner you’ve prepared, a class you’ve taught, or an event you organized and brilliantly executed, do you gracefully reply “Thank you” or do you say, “It was nothing”? As Fels tried to understand why women refuse to be the heroes of their own stories, she encountered the Bem Sex-Role Inventory, which confirms that society considers a woman to be feminine only within the context of a relationship and when she is giving something to someone. It’s no wonder that a “feminine” woman finds it difficult to get in the game and demand support to pursue her goals. It also explains why she feels selfish when she doesn’t subordinate her needs to others. A successful female CEO recently needed my help. It was mostly business-related but also partly for her. As she started to ask for my assistance, I sensed how difficult it was for her. Advocate on her organization’s behalf? Piece of cake. That’s one of the reasons her business has been successful. But advocate on her own behalf? I’ll confess that even among my closest friends I find it painful to say, “Look what I did,” and so I don’t do it very often. If you want to see just how masterful most women have become at deflecting, the next time you’re with a group of girlfriends, ask them about something they (not their husband or children) have done well in the past year. Chances are good that each woman will quickly and deftly redirect the conversation far, far away from herself. “A key type of discrimination that women face is the expectation that feminine women will forfeit opportunities for recognition,” says Fels. “When women do speak as much as men in a work situation or compete for high-visibility positions, their femininity is assailed.” My point here isn’t to say that relatedness and nurturing and picking up our pom-poms to cheer others on is unimportant. Those qualities are often innate to women. If we set these “feminine” qualities aside or neglect them, we will have lost an irreplaceable piece of ourselves. But to truly grow up, we must learn to throw down our pom-poms, believing we can act and that what we have to offer is a valuable part of who we are. When we recognize this, we give ourselves permission to dream and to encourage the girls and women around us to do the same.

As it turned out, Moss and the Patriots were hotter than the game-time temperature of 84 degrees. They ran the Jets off the field in a 38–14 rout highlighted by Moss’s 51-yard touchdown against triple coverage and 183 receiving yards on nine catches. “He was born to play football,” Brady said of his newest and most lethal weapon. The quarterback had it all now. He was getting serious with his relatively new girlfriend, Brazilian supermodel Gisele Bündchen (his ex-girlfriend, actress Bridget Moynahan, had just given birth to their son, Jack), and now he was being paired on the field with a perfect partner of a different kind. Brady wasn’t seeing the Oakland Randy Moss. He was seeing the Minnesota Moss, the vintage Moss, the 6´4˝ receiver who ran past defenders and jumped over them with ease. Brady had all day to throw to Moss and Welker, who caught the first of the quarterback’s three touchdown passes. He wasn’t sacked while posting a quarterback rating of 146.6, his best in nearly five years. Man, this was a great day for the winning coach all around. On the other sideline, Eric Mangini had made a big mistake by sticking with his quarterback, Chad Pennington, a former teammate of Moss’s at Marshall, when the outcome was no longer in doubt, subjecting his starter to some unnecessary hits as he played on an injured ankle. Pennington was annoyed enough to pull himself from the game with 6:51 left and New England leading by 17. “That was the first time I’ve ever done that,” Pennington said. Mangini played the fool on this Sunday, and Belichick surely got the biggest kick out of that. But the losing coach actually won a game within the game in the first half that the overwhelming majority of people inside Giants Stadium knew absolutely nothing about. It had started in the days before this opener, when Mangini informed his former boss that the Jets would not tolerate in their own stadium an illegal yet common Patriots practice: the videotaping of opposing coaches’ signals from the sideline. The message to Belichick was simple: Don’t do it in our house. It was something of an open secret that New England had been illegally taping opposing coaches during games for some time, and yet the first public mention of improper spying involving Belichick’s Patriots actually assigned them the collective role of victim. Following a 21–0 Miami victory in December 2006, a couple of Dolphins told the Palm Beach Post that the team had “bought” past game tapes that included audio of Brady making calls at the line, and that the information taken from those tapes had helped them shut out Brady and sack him four times. “I’ve never seen him so flustered,” said Miami linebacker Zach Thomas.

In 1908, the great Russian actress Alla Nazimova played Nora in New York in performances that became legendary. In the audience was Halvdan Koht, who describes Nazimova in the last scene acting “with a passionate intensity that made Nora’s transformation at the end completely an inner reality, conveyed in low-pitched, emotion-laden words” (K 323). Koht recalls his horror when members of the audience, mistaking “the work of art” for “a collection of ideas,” began to applaud Nora’s every line “as though it were a political harangue” (K 323). But while not a harangue, Nora’s words are nevertheless resoundingly political, for in representing the “inner reality” of an obscure Norwegian housewife, they constitute a discourse of recognition for every woman who has ever lived her life for a man, and by Nora’s count, there are “millions.” Displaying what the modern theatre condemns as bad manners, the 1908 audience was responding to Ibsen’s powerful feminist poetry, the exhilarating promise that on the other side of the doll house, women, no less then men, could learn to take themselves seriously: “I believe that, before all else, I’m a human being, no less than you — or anyway, I ought to try to become one” (193). The universality of A Doll House does not come from “its demand for truth in every human relation” (K 323), but in its demand for equality in the relation between women and men.

Over the past decade, its Dialogues Between Neuroscience and Society series has featured such luminaries as the Dalai Lama, actress Glenn Close, dancer Mark Morris, and economist Robert Shiller. At the 2006 meeting in Atlanta, Frank Gehry was invited to discuss the relationship between architecture and neuroscience. After the talk, an audience member (actually it was me) asked him, “Mr. Gehry, how do you create?” His answer was both intuitive and funny: “There is a gear [in my brain] that turns and lights a light bulb and turns a something and energizes this hand, and it picks up a pen and intuitively gets a piece of white paper and starts jiggling and wriggling and makes a sketch. And the sketch somehow relates to all the stuff I took in.”4 Gehry’s answer is a perfect metaphoric formulation of the evolving neuronal assembly trajectory concept, the idea that the activity of a group of neurons is somehow ignited in the brain, which passes its content to another ensemble (from “gear to light bulb”), and the second ensemble to a third, and so forth until a muscular action or thought is produced. Creating ideas is that simple. To support cognitive operations effectively, the brain should self-generate large quantities of cell assembly sequences.

No outsider can dictate another’s private definition of success. It may, it often does, include some recognition from one’s fellows, and greater financial rewards; on the other hand, it may not. Many a researcher in the sciences would consider himself fully successful (and would be right), if he added one minute fact to the mass of accumulating details on which science must proceed, if he took one item out of the realm of hypothesis and speculation and placed it in its proper relation to the mass of known truths. His name might never be known by those outside his science; it might be quite obscure even within his own field. He would nevertheless have attained the goal for which he was working if he accomplished that which he himself set out to do. The actress who reaches the top of her art is as successful as the mother who raises a large and healthy family—but not more so. A priest or minister immersed in the care of his parish lives as successful a life as the genius whose name is known by most of his contemporaries. Another’s ideal of success may have so little in common with our own that we are quite blind as to what he can see in the career he has chosen, but unless we are totally unimaginative we know, when we see him living responsibly, effectively, usefully, happily, making the most of his advantages and gifts, that we are dealing with a successful man.

What went on in that head of his? I would soon come to understand that he gave voice to only a fraction of the thoughts that swam behind his eyes. It was not nearly so clean and smooth in there as it seemed. Other lives were housed in that mind, parallel worlds. Maybe we’re all built a little bit that way. But most of us drop hints. Most of us leave clues. My father was more careful. When I think now of that moment in the kitchen, an almost unbelievable thought comes to my mind: There was a time when those two people - that man hunched at the table and that woman shouting in a bathrobe - were young. The proof was in the pictures that hung on the living room walls, a pretty girl and a bookish guy, a studio apartment in a crumbling Hollywood building overlooking a courtyard and a kidney-shaped pool. This was the mythical period before I was born, when my mother was not a mother and was instead an actress who might make it someday/. How much sweeter life would be if it all happened in reverse, if, after decades of disappointment, you finally arrived at an age when you had conceded nothing, when everything was possible. I like to think about how my parents’ lives once shimmered in front of them, half hidden, like buried gold. Back then the future was whatever they imagined - and they never imagined this.