Jodie Foster Quotes

It's an interesting combination: Having a great fear of being alone, and having a desperate need for solitude and the solitary experience. That's always been a tug of war for me.

Being understood is not the most essential thing in life.

Normal is not something to aspire to, it's something to get away from.

Books have always been my escape - where I go to bury my nose, hone my senses, or play the emotional tourist in a world of my own choosing... Words are my best expressive tool, my favorite shield, my point of entry...When I was growing up, books took me away from my life to a solitary place that didn't feel lonely. They celebrated the outcasts, people who sat on the margins of society contemplating their interiors. . . Books were my cure for a romanticized unhappiness, for the anxiety of impending adulthood. They were all mine, private islands with secret passwords only the worthy could utter. If I could choose my favorite day, my favorite moment in some perfect dreamscape, I know exactly where I would be: stretched out in bed in the afternoon, knowing that the kids are taking a nap and I've got two more chapters left of some heartbreaking novel, the kind that messes you up for a week.

In the end, winning is sleeping better.” —Jodie Foster

I will not Jodie Foster this kind of behavior.

After a horribly long day, I needed a mental break. I threw on my parka, with the raccoon fur around the hood, and I went to see a movie. But what to see? Something sweet and stupid and harmless. At the movie theater on Second Avenue and Twelfth, a title caught my eye. I thought, 'That seems good. Jodie Foster and a puffy, friendly farm animal, a butterfly.' I unzipped my jacket and headed inside to see a movie I'd heard the name of but knew nothing about. It was called Silence Of The Lambs.

Normal is not something to aspire to, it is something to escape from.

Listening to your son after you've spent time with a girl will make you wonder when he became Jodie Foster in Nell.

I just want to know if Jodie Foster is here,” Alex murmured as Lan Caihe returned to the banquet table. She was one of Manuscript’s most famous alums.

And I wonder if he'll be a she. It's not entirely out of the question. Two thousand years ago, no one would have listened to a female Messiah. And although not a whole lot has changed, it wouldn't surprise me a bit if the next Messiah turned out to be someone like Jodie Foster or Linda Hamilton or Sigourney Weaver. Someone who can kick some ass and still project all of the compassion of the Madonna.

As I sat there in the uncomfortable silence, the first visual that crept into my mind was that dreadful scene in The Silence of the Lambs when Hannibal Lecter exposes Jodie Foster’s character, FBI agent Clarice Starling: “You’re so-o-o ambitious, aren’t you? You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well-scrubbed, hustling rube, with a little taste. Good nutrition’s given you some length of bone, but you’re not more than one generation from poor white trash, are you, Agent Starling? And that accent you’ve tried so desperately to shed—pure West Virginia. What does your father do? Is he a coal miner? Does he stink of the lamp?

Normal is not something to aspire to, it’s something to get away from.

When I first envisioned myself running, I saw myself as Jodie Foster’s Clarice Starling in the opening scenes of The Silence of the Lambs. So strong, so focused, so proud. She is utterly confident, completely single-minded about her training run across a terrifying assault course. At one point she runs past a tree with the sign HURT AGONY PAIN LOVE IT stapled to it. She doesn’t care what she looks like; she has shit to do, and she is going to get it done. And yet . . . she is wearing a phenomenally impractical outfit. She is in a heavy cotton sweatshirt and tracksuit bottoms and is drenched in sweat. The top is sticking to both her chest and back and looks painfully heavy. She is summoned by a colleague and heads inside past a roomful of people dressed in khaki, faffing around with guns, and then gets into an elevator. All in the heavy, damp cotton. That wet fabric must have gotten incredibly cold the minute she stopped running, and it bothers me whenever I think of the poor woman in that meeting. For years the scene was my running inspiration, yet now I am unable to watch the first hour of the film without worrying about whether Clarice is shivering from the horrors of Hannibal Lecter or because she caught a dreadful chill.

Being adopted felt like reading a book that had the first chapter ripped out. You might be enjoying the plot and the characters, but you'd probably also like to read that first line, too. However, when you took the book back to the store to say that the first chapter was missing, they told you they couldn't sell you a replacement copy that was intact. What if you read that first chapter and realized you hated the book, and posted a nasty review on Amazon? What if you hurt the author's feelings? Better just to stick with your partial copy and enjoy the rest of the story.

Ja always talkin bout hurry canes. He say, "Nell get in da hous, hurry canes comin!" I don't know why he so scard of canes dat hurry. Maybe dey skuuu him in da belly somtime when he was a littl'n. Nell feeles all ta-hay bout hurry canes. Dey make trees swaaaaay in da wiiiiiind. Waaaaana hurry cane. Nell say to Ja--don't ki, missa chickabee. Come to Nell, hurry cane.

This is the place where I learned to live this life, to curse this life, and to claim this life for my very own.

The 6 best things about having sex with a 14 year-old Filipino girl... ... 1. you can dress her up like Jodie Foster and practice De Niro impersonations 2. when she screams she sounds like Elmo 3. if she whines about telling her parents just buy her an ice cream and it becomes 'our secret' 4. you can read her Nabakov's Lolita as a bedtime story 5. you can hand her a taco and pretend she's a 14 year-old Mexican girl to mix it up a bit and best of all... 6. when you flip her over it's just like having sex with a 14 year-old Filipino boy!

President and Chairman of the independent oil and gas exploration firm Vanderbilt Energy Corporation. Considering he belonged to such a wealthy and prominent family, it seems rather odd that John Hinckley, Jr. was always portrayed by the media as some kind of vagabond who did nothing but stalk Jodie Foster and read Catcher all day.

Macclesfield was like a wound I couldn't stop picking. I didn't know if I'd ever heal or if my constant pulling at the scab would leave me open to infection but I did know I had to keep doing it. I had to find out what lay beneath each layer of skin even if it meant that I felt more and more pain. It could have been another form of self harm or it could have been a part of my journey I just had to make. Either way I was compelled to continue. Could I get Jodie and Jonathon back? Could I see them playing again? Would Courtney accept me into her family? Perhaps I'd belong there until I got my family back together? Okay so I couldn't grow up with Alan as I'd liked but I could try and fit in with Clive and Phil. The thought hurt, I could easily turn to crime but how would that help with the social services?

The definition of a friend is somebody who adores you even though they know the things you are most ashamed of.

The very next day I informed the head of Sales Engineering and the head of Customer Support that they would be switching jobs. I explained that, like Jodie Foster and Barbara Harris, they would keep their minds, but get new bodies. Permanently. Their initial reactions were not unlike the remake where Lindsay Lohan and Jamie Lee Curtis both scream in horror.

Normal is not something to aspire to, it’s something to get away from. ~ Jodie Foster

Trace was up at the flip chart listing trans movie and tv role models, arguing that Dynasty’s Krystle Carrington as played by Linda Evans was definitely covertly mtf. The other role models were Martine Beswick in Dr. Jekyll and Sister Hyde, Tura Satana in Faster, Pussycat! Kill! Kill!, the secretary in Ferris Bueller’s Day Off (“Edie McClurg!” Sydney shouted), and Jodie Foster in Candleshoe.

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

You know,” Danny says, motioning to the card as Mr. Foster removes it from his mouth, “there’s this great little device on the market that holds business cards in a handy pocket-sized contraption that you can actually keep in your pocket.” He plasters on an amazed expression. “Maybe put it on your Christmas list and if you’ve been a good boy, Santa Claus might leave one under the tree for you.

Police quickly arrested the shooter, who was identified as John Hinckley Jr., a 25-years-old university dropout. He was obsessed with the actress Jodie Foster in the movie Taxi Driver, which had motivated him to kill the President. Luckily, his efforts failed.

I am not the actress, but that is my real name.

What is reality? Were my childhood experiences reality? Were my adult experiences reality? Are prayers and rituals reality? Do they make a difference?

At Ardennes she conceived a desire to strangle the young woman who prepped and held down garde manger. The woman, Becky Hemerling, was a culinary-institute grad with wavy blond hair and a petite flat body and fair skin that turned scarlet in the kitchen heat. Everything about Becky Hemerling sickened Denise—her C.I.A. education (Denise was an autodidact snob), her overfamiliarity with more senior cooks (especially with Denise), her vocal adoration of Jodie Foster, the stupid fish-and-bicycle texts on her T-shirts, her overuse of the word “fucking” as an intensifier, her self-conscious lesbian “solidarity” with the “latinos” and “Asians” in the kitchen, her generalizations about “right-wingers” and “Kansas” and “Peoria,” her facility with phrases like “men and women of color,” the whole bright aura of entitlement that came of basking in the approval of educators who wished that they could be as marginalized and victimized and free of guilt as she was. What is this person doing in my kitchen? Denise wondered. Cooks were not supposed to be political. Cooks were the mitochondria of humanity; they had their own separate DNA, they floated in a cell and powered it but were not really of it. Denise suspected that Becky Hemerling had chosen the cooking life to make a political point: to be one tough chick, to hold her own with the guys. Denise loathed this motivation all the more for harboring a speck of it herself. Hemerling had a way of looking at her that suggested that she (Hemerling) knew her better than she knew herself—an insinuation at once infuriating and impossible to refute. Lying awake beside Emile at night, Denise imagined squeezing Hemerling’s neck until her blue, blue eyes bugged out. She imagined pressing her thumbs into Hemerling’s windpipe until it cracked.    Then one night she fell asleep and dreamed that she was strangling Becky and that Becky didn’t mind. Becky’s blue eyes, in fact, invited further liberties. The strangler’s hands relaxed and traveled up along Becky’s jawline and past her ears to the soft skin of her temples. Becky’s lips parted and her eyes fell shut, as if in bliss, as the strangler stretched her legs out on her legs and her arms out on her arms…    Denise couldn’t remember being sorrier to wake from a dream.    “If you can have this feeling in a dream,” she said to herself, “it must be possible to have it in reality.

Normal is not something to aspire to, it’s something to get away from. ~ Jodie Foster

The archetypal example is portrayed in the 1991 movie Silence of the Lambs, where Jodie Foster, who plays a junior FBI agent, seeks out, listens to, and acts on information from a psychotic murderer named Hannibal Lecter. Despite the fact that Hannibal Lecter was serving a life sentence in prison while the murders took place, Jodie Foster’s character understood that Lecter had the same mind-set and many of the same life experiences as the killer she was trying to capture. Silence of the Lambs was just a movie, but if we in the United States had had someone like Hannibal Lecter who had the same mind-set and many of the same life experiences as the terrorists that masterminded 9/11, we surely would have tapped into his knowledge base, wouldn’t we?