Jane Fonda Quotes

I would think somebody like Jane Fonda and her idiot husband would be terribly ashamed and saddened that they were a part of causing us to stop helping the South Vietnamese. Now look what’s happening. They’re getting killed by the millions. Murdered by the millions. How the hell can she and her husband sleep at night?

When you can't remember why you're hurt, that's when you're healed.

The challenge is not to be perfect…it’s to be whole

The whole weekend turned out to be one giant round of excruciating foreplay, and if he doesn't stop stalling and give me some relief pretty damn pronto, there's going to be a girl-parts rebellion the likes of which he's never seen. I'm wound tighter than Jane Fonda's latest facelift, goddammit.

I was struck with a bolt of distilled horror like I have never known before. Far worse than suddenly finding yourself walking through a prison cafeteria wearing Daisy Duke shorts and a Jane Fonda headband.

You can do one of two things; just shut up, which is something I don't find easy, or learn an awful lot very fast, which is what I tried to do.

If you allow yourself, you can become stronger in the very places that you've been broken.

It's never to late- never to late to change your life,never to late to be happy

Ask questions. Stay curious. It’s much more important to stay interested than to be interesting.

The bravest soldiers aren't unafraid, but they're the ones who are able to harness their fear on behalf of courage.

I don't want my wrinkles taken away - I don't want to look like everyone else.

A good many dramatic situations begin with screaming.

If you allow yourself you can become stronger in the very places that you've been broken.

you can be different if u be u

We are not meant to be perfect; we are meant to be whole.

You don’t need to,” he replied. “You’re already saved.” And he went on to tell me that the original Greek meaning of the word saved meant that a person was whole.

In this country, the only way a minority can get anything done is to make a little noise.

On vague wording of drone strike criteria: “Are you going to just drop a hellfire missile on Jane Fonda? Are you going to drop a missile on Kent State? That’s gobbledygook.

In psychologist Marion Woodman’s Leaving My Father’s House I read: “When humans suffer they are vulnerable. Within this vulnerability lives the humility that allows flesh to soften into the sounds of the soul.” Maybe this was what was happening to me. I felt lighter, as if a space had been cleared around me allowing coincidences (God’s way of remaining anonymous) to manifest. Maybe these coincidences had been happening all along and I just hadn’t been open to them. Now it was as though I were being led to them.

Have you noticed how we are presented with the same lessons, over and over and over, before a tipping point is reached? The lessons we need to learn circle round us, closing in, until finally we are ready to take them in. Take them in. Those are the words that matter, because until I had embodied the lessons I was supposed to learn, absorbed them into the warp and woof of my being, they didn’t “take”; they remained a head trip and didn’t lead to changes in my behavior.

But I'll tell you a secret. You know what boys like? A woman who's happy with herself. Who's not making herself miserable with the Jane Fonda videotapes and complaining all the time about whether this part or that one's too big. And you know what else they like? She leaned in close, whispering into her granddaughter's ear. Good food.

If you allow yourself, you can become stronger in the very places that you've been broken

Nothing can change until we acknowledge what is, as I have learned over time.

You know what they call a guy who switches sides in homicide? They call him a Jane Fonda, as in hanging with the North Vietnamese. You get it? It’s crossing to the dark side.

who self-consciously served the Communist rulers in Vietnam. When Hayden and Jane Fonda went

think Jane Fonda has done something. I could see her doing most anything. Redford’s certainly been effective in pursuing his interests. Who always sings I Left My

I am still baffled by those who feel that criticizing America is unpatriotic, a view increasingly being adopted in the United States since 9/11 as an excuse to render suspect what has always been an American right. An active, brave, outspoken (and heard) citizenry is essential to a healthy democracy.

I think most of us have many personas inside us at the outset, but over time we lean to the one that is dominant and the others atrophy for lack of use. The difference with actors is that we are paid to become all the people inside us and to bring into us all the people we may have met along the way. Thus we remain instinctively aware of, unsettled by, curious about, empathetic toward, and eager to display all those potential beings we carry. Of all these, the empathy part is the most important and is, I believe, why actors—the good ones—tend to be open, progressive creatures: We are asked to get inside the skin of “other,” to feel with “other,” to understand “other.” Being able to see from this “other” point of view gives actors compassion.

Perhaps you think that by intimacy I mean sex, so allow me to clarify. Sex can be intimate but isn’t necessarily so; sometimes it’s just the pleasurable stimulation of genitalia. By intimacy I mean an attunement between two people who, despite each other’s evident flaws, open their hearts fully to each other. This openness makes them vulnerable, so trust is key. So is self-love: It’s impossible to be truly intimate with someone if you don’t like yourself.

What many people failed to do then (and continue to fail to do today) is admit what happened, understand the context, and make sure those circumstances never happen again. The winter soldiers showed us that redemption is possible when truth is spoken. Nothing can change until we acknowledge what is—as I have learned over time.

The most incredible beauty and the most satisfying way of life come from affirming your own uniqueness.

No Pain No Gain

I had it in my head. I thought I had it in my heart—in my body—but I didn’t; not really. I couldn’t. It was too scary, like stepping off a cliff without knowing if there was a trampoline below. It meant doing life differently.

Theirs was a strange generation. They grew up with headlines about marches, protests, and sit-ins; they watched the Vietnam War and Woodstock live on color television; they all wanted to be H. Rap Brown and Jane Fonda and Patty Hearst; and when they turned eighteen and felt the full conviction of their revolutionary duty, they all voted for a soft-spoken peanut farmer who was systematically humiliated from his earliest days in office until what seemed his very last.

Where identity is not fixed, performance becomes a floating anchor.” And could I perform! Making the unreal seem real, the sad seem happy, hoping that somewhere along the way it would all work out, that I would discover who I was. Meantime I had an anchor.

I needed to pay attention, to be ready to step through and descend into it, whatever it was. It felt archetypal. Something in me was being slain in the fires of pain so that some new thing could be born. I knew it and went with it, and in the alchemy of my pain, like flowers whose seeds open only in the presence of fire, tendrils of something new began to sprout. Pain for me was a Trojan horse, penetrating the protective walls I’d erected around my heart, bearing within it hints of a future I might never have awakened to had I tried to numb myself with busyness.

I spent most of my time floating on an inflatable raft in the pristine Mediterranean waters, my big belly curving toward the sun, reading (incongruously) The Autobiography of Malcolm X. It rocked me to my core. Malcolm’s story opened a window onto a reality I had ignored. But the greatest revelation the book brought me was the possibility of profound human transformation. I was spellbound by his journey from the doped-up, numbers-running, woman-beating, street-hustling, pimping Malcolm Little to a proud, clean, literate, Muslim Malcolm X who taught that all white people were the Devil incarnate—to his final, spiritual transformation in Mecca. There he met white people from all over the world who received him as a brother, and he realized that “white,” as he had been using the word, didn’t mean skin color as much as it meant attitudes and actions some whites held toward non-whites—but that not all whites were racist. At the time of his murder, he was anything but the hatemonger portrayed in the American press. Somehow, through the horrors that had been his life, he had become a spiritual leader. How had this been possible?

In the film Death and the Maiden, there is a point during which Sigourney Weaver has duct-taped Ben Kingsley to a chair in her living room. The characters are re-enacting a reverse torture scene. To move the plot of a woman tortured toward its desire: to torture the torturer. To extract a confession. The chair is a prop. A prop is a stage object that supports the drama. If the audience suspends their disbelief the chair transforms itself in time and space. If the audience is left unconvinced the chair is silly and imaginable in anyone’s living room. In the film Romeo is Bleeding Lena Olin sits in a chair and spreads her legs so that her cunt can be seen/scene. Her nationality keeps slipping; she is what we want her to be in a million ways. Her severed arm our severed arms. Her mouth opening like a country. In the film Exotica Atom Egoyan has the male lead (primary actor, financial draw) sit in a chair immobile while a child-stripper dances excruciatingly close to his body. His hands on his thighs. His mouth open. His mind seated. Torture. In the film Barbarella Jane Fonda is trapped inside of a science fiction sexual orgasm chair. This is before her politics come. In the film Breaker Morant two men mutated soldiers lost are executed—shot through the chest—while seated in chairs. In my kitchen I jack my father off while he sits in a chair, my hand smally domestic, the back of the chair holding his back, the legs of the chair forgiving his weight, the wood of the chair blonde, the hair of the girl blonde, the room magnified to cinematic proportions.

As I finished my rice, I sketched out the plot of a pornographic adventure film called The Massage Room. Sirien, a young girl from northern Thailand, falls hopelessly in love with Bob, an American student who winds up in the massage parlor by accident, dragged there by his buddies after a fatefully boozy evening. Bob doesn't touch her, he's happy just to look at her with his lovely, pale-blue eyes and tell her about his hometown - in North Carolina, or somewhere like that. They see each other several more times, whenever Sirien isn't working, but, sadly, Bob must leave to finish his senior year at Yale. Ellipsis. Sirien waits expectantly while continuing to satisfy the needs of her numerous clients. Though pure at heart, she fervently jerks off and sucks paunchy, mustached Frenchmen (supporting role for Gerard Jugnot), corpulent, bald Germans (supporting role for some German actor). Finally, Bob returns and tries to free her from her hell - but the Chinese mafia doesn't see things in quite the same light. Bob persuades the American ambassador and the president of some humanitarian organization opposed to the exploitation of young girls to intervene (supporting role for Jane Fonda). What with the Chinese mafia (hint at the Triads) and the collusion of Thai generals (political angle, appeal to democratic values), there would be a lot of fight scenes and chase sequences through the streets of Bangkok. At the end of the day, Bob carries her off. But in the penultimate scene, Sirien gives, for the first time, an honest account of the extent of her sexual experience. All the cocks she has sucked as a humble massage parlor employee, she has sucked in the anticipation, in the hope of sucking Bob's cock, into which all the others were subsumed - well, I'd have to work on the dialogue. Cross fade between the two rivers (the Chao Phraya, the Delaware). Closing credits. For the European market, I already had line in mind, along the lines of "If you liked The Music Room, you'll love The Massage Room.

Then one night he brought home a beautiful red-haired woman and took her into our bed with me. She was a high-class call girl employed by the well-known Madame Claude. It never occurred to me to object. I took my cues from him and threw myself into the threesome with the skill and enthusiasm of the actress that I am. If this was what he wanted, this was what I would give him—in spades. As feminist poet Robin Morgan wrote in Saturday’s Child on the subject of threesomes, “If I was facing the avant-garde version of keeping up with the Joneses, by god I’d show ’em.” Sometimes there were three of us, sometimes more. Sometimes it was even I who did the soliciting. So adept was I at burying my real feelings and compartmentalizing myself that I eventually had myself convinced I enjoyed it. I’ll tell you what I did enjoy: the mornings after, when Vadim was gone and the woman and I would linger over our coffee and talk. For me it was a way to bring some humanity to the relationship, an antidote to objectification. I would ask her about herself, trying to understand her history and why she had agreed to share our bed (questions I never asked myself!) and, in the case of the call girls, what had brought her to make those choices. I was shocked by the cruelty and abuse many had suffered, saw how abuse had made them feel that sex was the only commodity they had to offer. But many were smart and could have succeeded in other careers. The hours spent with those women informed my later Oscar-winning performance of the call girl Bree Daniel in Klute. Many of those women have since died from drug overdose or suicide. A few went on to marry high-level corporate leaders; some married into nobility. One, who remains a friend, recently told me that Vadim was jealous of her friendship with me, that he had said to her once, “You think Jane’s smart, but she’s not, she’s dumb.” Vadim often felt a need to denigrate my intelligence, as if it would take up his space. I would think that a man would want people to know he was married to a smart woman—unless he was insecure about his own intelligence. Or unless he didn’t really love her.

...and my professional idol Vanessa Redgrave. There is a quality about Vanessa that makes me feel as if she resides in a nether-world of mystery that eludes the rest of us mortals. Her voice seems to come from some deep place that knows all suffering and all secrets. Watching her work is like seeing through layers of glass, each layer painted in mythic watercolor images, layer after layer, until it becomes dark—but even then you know you haven’t come to the bottom of it.

My life is a stairway to heaven, not a 'decline into decrepitude.

Sex and intimacy are not the same thing. You can have sex all your life and never be intimate with a person. There has to be empathy in the relationship. You have to enjoy seeing through their eyes. When you’re with them, you’re there and not thinking about what you’re gonna do tomorrow.” —Jane Fonda, actress

documents out of RAND. As Ellsberg wrote in his 2002 book, Secrets, “What I had in my safe at RAND was seven thousand pages of documentary evidence of lying, by four presidents

When you can't remember why you're hurt, that's when you're healed. When you have to work real hard to re-create the pain, and you can't quite get there, that's when you're better.

Fitness trainers will tell you that arm lifts with light weights can prevent wiggle waggle. But if that were true, would Jane Fonda have it? This is hard-body Jane, the woman who, back in the ’80s, produced the best-selling workout videos. When she was 72, she made two more, though they included things like exercises for arthritic hands (and wore a leotard that covered her arms).

I would think if you understood what communism was, you would hope, you would pray on your knees, that we would someday become communists." -Jane Fonda speech at Michigan State University to raise money for the Black Panthers, Detroit Free Press, 22 November 1969   "My position on the POW issue has been widely misquoted and taken out of context. What I originally said and have continued to say is that the POW's are lying if they assert it was North Vietnamese policy to torture American prisoners." -Jane Fonda, "Who is Being Brainwashed?" An Indochina Peace Campaign Report Santa Monica: Indochina Peace Campaign 1973   "We have no reason to believe that U.S Air Force officers tell the truth. They are professional killers." -Jane Fonda, Washington Star, April 19, 1973

Do not leave the theatre satisfied Do not be reconciled. … You cannot live on our wax fruit Leave the theatre hungry For change —FROM EDWARD BOND, On Leaving the Theatre   I

The

Dad’s youth minister salary was about $25,000 a year, so my mom was always looking for ways to supplement the income. This was the era of Jazzercise and she saw that Jane Fonda’s Workout was becoming the highest-selling VHS tape of all time. She thought, I can do that. Since we were always at church, she decided to start teaching an aerobics class there. She had to go talk in front of the whole deacon board to get approval, and she brought us along. There was this old country man who kept staring at her as she talked about aerobics. He finally interrupted her. “You gonna be doing acrobatics in the church chapel?” “Aerobics,” she said, overenunciating every syllable. “Working out. Good for your heart.” The men looked at each other. It was bad enough my dad had an earring, and now his crazy wife wanted people dancing in the church. Finally, she hit on the point: “I’m going to be helping women get their best bodies possible.” Again, the men looked at each other, but this time they were sold. She started the Heavenly Bodies company, and the class was called Jump for Jesus— No, I will not shut my mouth. That is really what she called it. Let’s continue.

This is the part of film acting that I was only too happy to leave behind, the part that became more agonizing as time went on. Yet you have to go through those terrifying times if you are ever to have the magic ones, the times when it all works—and to be truthful, those I have missed. There were perhaps only eight or nine of them out of forty-five films, but they were the times when I stepped into my light and my muse was with me, all my channels were open, the creative flow coursed through my body, and I became. Whether the scene was sad or funny, tragic or triumphant, never mattered. When it worked it was like being enveloped in love and light, as I danced the intricate dance between technique and emotion, fully inside the scene while simultaneously a separate part of me observed and enjoyed the unfolding. Ah, but just because it has happened once doesn’t mean it will again! Each time is starting new, raw; it’s a crapshoot—you just never know. Which is why this profession is so great for the heart—and so hard on the nerves. I always assumed that the more you did something the easier it would get, but in the case of my career I found the opposite to be true. Every year the work seemed to get harder and my fear more paralyzing. Once, on the set of Old Gringo, I watched Gregory Peck late in his career doing a long, very difficult scene over and over again all day long. I saw that he too was scared. I went up to him afterward and hugged him and told him how beautiful and transparent he had been. “But, Greg,” I asked, “why do we do this to ourselves? Especially you. You’ve had a long and incredible career. You could easily retire. Why are you still willing to be scared?” Greg sat for a moment, rubbing his chin. Then he said, “Well, Jane, maybe it’s like my friend Walter Matthau says. His biggest thrill in life is to be gambling and losing a bit more than he can afford and then have one chance to win it all back. That’s what you live for—that moment. The crapshoot. If it’s easy, what’s the point?

But before that end the Nixon White House had abused power with awesome ingenuity. They had set up an extensive “enemies list” that ranged from political opponents like Jane Fonda, Shirley Chisholm, and Edmund Muskie to the heads of eastern universities and foundations, along with media figures, actors, even athletes, and included a mistake or two—non-enemy Professor Hans Morgenthau made the list because he was confused with enemy Robert Morgenthau, U.S. Attorney in New York City. They conducted a private investigation of Senator Edward Kennedy’s 1969 automobile accident at Chappaquiddick in which a woman drowned. They tapped their foes and one another with wild abandon. They tried to subvert the IRS, the CIA, the FBI for political purposes.

If I stay long enough, I'm going to become the Jane Fonda of middle fingers.

This remarkable transformation can be seen in patterns of congressional representation, then and now. When the 91st Congress was seated in 1969, after Nixon defeated Humphrey, eighteen of the twenty-two senators from the South—the prototypical John Wayne region of the country—were Democrats. In the states stretching from Maine to the Mason-Dixon Line, Jane Fonda country, twelve of the eighteen senators were Republicans. These proportions are hard to conceive of today. In contrast, at the beginning of the 115th Congress, which began shortly after Donald Trump defeated Hillary Clinton to win the presidency in late 2016, John Wayne’s South was represented by nineteen Republicans and only three Democrats; New England and the Middle Atlantic states, meanwhile, had two lonely Republicans among their eighteen senators.

While the exact ratio does depend on which machine you use and how you use it (whether you work out or just stand on the plate), forty years of research and the devotion of thousands of professional athletes and elite users, including Shaquille O’Neil, Jane Fonda, Madonna, the Denver Broncos, and the Tennessee Titans, attest to WBV’s effectiveness.

My impressions of Hank are of a man reaching but unreachable, gentle but capable of sudden wild and dangerous violence, sharply critical of others but equally self-critical, caged and fighting the bars but timid of the light, viciously opposed to external restraint, imposing an iron slavery on himself. His face is a picture of opposites in conflict.

Feminism is not just about women; it’s about letting all people live fuller lives.

It's never too late - never too late to start over, never too late to be happy. ~Jane Fonda

Jane Fonda.

It’s never too late – never too late to start over, never too late to be happy.

Celebrities who in the sixties had led Barbie-esque lives now forswore them. Jane Fonda no longer vamped through the galaxy as "Barbarella," she flew to Hanoi. Gloria Steinem no longer wrote "The Passionate Shopper" column for New York, she edited Ms. And although McCalVs had described Steinem as "a life-size counter-culture Barbie doll" in a 1971 profile, Barbie was the enemy. NOW's formal assault on Mattel began in August 1971, when its New York chapter issued a press release condemning ten companies for sexist advertising. Mattel's ad, which showed boys playing with educational toys and girls with dolls, seems tame when compared with those of the other transgressors. Crisco, for instance, sold its oil by depicting a woman quaking in fear because her husband hated her salad dressing. Chrysler showed a marriage-minded mom urging her daughter to conceal from the boys how much she knew about cars. And Amelia Earhart Luggage—if ever a product was misnamed—ran a print ad of a naked woman painted with stripes to match her suitcases.

The Archbishop of Canterbury: “Jesus is the Son of God, you know.” Jane Fonda: “Maybe He is for you, but He’s not for me.” Archbishop: “Well, either He is or He isn’t.” Conversation on the Dick Cavett Show

My biggest fear is dying with regrets.

JANE FONDA: It never occurred to me to ask a director to be consulted on style or content. I remember halfway through my career, I’d been an actress for twelve years, and I made They Shoot Horses, Don’t They? It was the first time that a director other than my husband had asked me what I thought and discussed the script with me, the story, changes that needed to be made. I couldn’t believe it. It was Sydney Pollack.