Zitat des Tages über Amy:
I do think there are some great female comics: Tina Fey, Amy Poehler, Kristen Wiig, Maya Rudolph. They're the whole ball of wax.
After doing the first couple scenes and I got used to being in front of a few people it got easier and easier. In Chasing Amy, I wasn't nervous at all. And in Dogma, the same.
I've been pitching a show of five female stand-up comedians through the generations, from Phyllis Diller to Amy Schumer, so when I got an e-mail asking me if I would participate in the Women in Comedy Festival, I was thrilled.
I mean, look at her. Any idiot, you know, would quite taken with Amy.
I remember seeing Amy Sedaris in a stint where she played somebody's alcoholic mother in one scene and in the next she was Ross Perot. I remember thinking she was so awesome.
Even when I'm playing someone named 'Fat Amy.' I'm all about confidence and attitude.
Amy Carter, Chelsea Clinton and the Obama girls all had to change schools.
But you know the thing that I thing oftentimes gets ignored and neglected is there was 10 or 12 years of life before I met Amy and before she met me, where you know, whatever happened was probably going to happen some day.
I produced six movies with Amy Robinson since the very early '80s.
I loved doing 'Gilmore Girls.' I love Amy Sherman-Palladino. I'd do anything with her.
I listened to a lot of Amy Winehouse: her albums 'Frank' and 'Back to Black'. She was such an incredible artist. She was just so raw and had her unique sound; she paired jazz with pop and was so soulful at the same time. So I pulled from her a lot in the beginning.
Right from the start with music, I was like, 'I'm just going to do this, and I don't care about anything else. There are certain things you have to give up, even at 13, 14: your Friday and Saturday nights, having a regular girl, lots of things like that. I look at Amy Winehouse, and I think perhaps she just don't want to do it that much.
I walk fast. I have an aversion to wasting time. My sense of constant motion is one of the reasons that my eldest daughter, Amy, nicknamed me 'the Tasmanian Devil' when she was in her teens.
I have a love/hate relationship with Amy Grant, but I do go back to her Christmas albums once in a while. They're dated and sentimental and the production is nearly unlistenable, but there's something about her vocal performance that just feels really true. I would take her Christmas albums over Mariah Carey's or Destiny's Child's any day.
It's a diabolical business. I can't imagine how hellish it must be to be hounded like Amy Winehouse and people like that. I have a little peripheral place on the outskirts of celebrity, when I go to premieres and that sort of stuff, which is as close as I want to get.
'Chasing Amy' was an amazing role, but then after that, I went and did 'Big Daddy' and you're the girlfriend or you're the best friend. I wasn't getting the Nicole Kidman roles.
If you recall, we have a huge list of celebrities who had announced they'd leave the country if Trump won. It probably seemed like a safe play for attention at the time, but now they've got egg on their faces, because, of course, none of them are actually leaving. Some of them have gone silent, while others, like Amy Schumer, say it was a joke.
At home, I'm just Amy, but in India, I get mobbed.
'At the Gates of the Animal Kingdom' by Amy Hempel showed me the lean quality of prose.
People who take risks like Amy Winehouse and Norah Jones take a second to catch on, but eventually they do because they're different and honest in a musical landscape that's not always like that.
Tina Fey and Amy Poehler, they made it cool to be funny and to be embarrassed and to look a thousand different ways and show a bunch of different areas of their lives.
People always think I'm Amy Poehler, which never bothers me. I mean, Amy Poehler is great.
When my children say, 'In the future, Mummy, will things get better or worse for humanity?' I say: 'Who knows, since Amy Winehouse died. It's all in the air now. Eat your broccoli.'
One of the first records I bought for myself was a Keith Whitley record. I still love the 'L.A. to Miami' album. There were so many things on there - 'Miami, My Amy,' 'Ten Feet Away,' 'Nobody in His Right Mind Would've Left Her.' I can put that album on repeat and listen.
I've always dreamed of growing up to be Amy Poehler.
'Amy' is somewhere in the middle of authorized and unauthorized.
As we got older, we grew comfortable in roles that met our parents' expectations. Nora was the smart one. Delia, the comedian. I was the pretty, obedient one. And Amy was the adventurous mischief-maker.
It's how you define yourself. It's not Nirvana or Pearl Jam: it's, 'Do you watch 'Portlandia' or 'Amy Schumer'?' It relates to a specific sense of humor. And, 'Do you know the hidden gems?' Like, if you knew the Pixies in the '80s.
I love singers like Hayley Williams from Paramore and Amy Lee from Evanescence.
Funny is funny. If it's funny enough to women, it will be funny to men. I think that's been proven by Broad City and Amy Schumer. They're killing it.
The first Amy Silver book was commissioned, and they were not books that came completely from me. They weren't necessarily the sort of books I read, and although I enjoyed doing them very much, and they were great training, I never felt completely comfortable in that genre.
Amy Poehler, Kristen Wiig, Maya Rudolph - when they speak, everyone listens. Because they're freaking hilarious.
Some of these actresses or public personas who are very public about their disciplined diets, more power to them. I just don't see the point. I'm just not going to be one of those people photographed in a bikini where people are like, 'OMG, look at Amy!' I mean, it might be OMG, but not for the reasons I want.
I grew up idolizing Madeline Kahn and Lily Tomlin and Carol Burnett, Ruth Gordon, Rosalind Russell, Amy Irving, women who were stylish and real actresses who did real work and could not be replaced with anyone else. You cannot cast anyone else in Madeline Kahn's roles.
In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.
I mean, first, almost all writers these days teach because they don't make enough money publishing to live on, to support themselves - people like Tobias Wolff, Anne Beattie, Amy Hempel, Stuart Dybek; a lot of short story writers, for one thing.