I simply loved all my life; loved is too strong a word, but I had a tremendous sentiment, partly conditioned, of course, by the reality of where I grew up, for the spirit of individualism, for the idea of your being on your own in a big way.
I think photography is closest to writing, not painting. It's closest to writing because you are using this machine to convey an idea. The image shouldn't need a caption; it should already convey an idea.
An idea, like a ghost, must be spoken to a little before it will explain itself.
I do find it amusing when somebody cuts me off, makes an aggressive move on me in a car. I'm like, 'Do you have any idea what I do for a living? Why?'
The color and the diversity dies out, and it gets whiter and whiter, and that's in any field. There is also this idea that there can only be one gay person or there can only be one Asian-American woman in the office, and so it also perpetuates itself where we are isolated, especially the more successful we get.
I always get less nervous when we get into rehearsals because it just gives me a better idea of how it's gonna go.
Maybe because I didn't have a huge film career right off the bat, I've been able to create something different, which is so important to me. That's myself, my idea of who I am.
In getting Under Armour started, like any business, I think, number one, you need a great idea. But it's also about who you know.
I was a semiotics major at Brown, and there's this idea that stories are better, books are better, and movies are better if they cocked you off your axis and you were completely disoriented and you'd really have to rethink everything. Nobody has that experience, actually.
I love the trilogy form. I like the idea that you can establish a character in book one. And then in the second part, you can take the characters down to their darkest point. And then in the third part, you have total freedom either to give them redemption - or just to kill them.
The idea is not enough. And the most annoying thing for me as a writer is that people will come up to me and say, 'Hey, I've got a great idea for a book. I'm not a writer, but I've got a great story.'
I don't accept the Zionist idea.
While shooting for 'Kodi' at Pollachi, I got this new idea for 'VIP 2'.
There is not enough funding for basic sciences in India. We have to invest in a big way, and I am pushing that idea.
The idea of growing up in the South and being a man is an interesting thing; there's a lot masculinity involved, with hunting, fishing, and playing sports that rural people take pride in, but at the same time, I grew up really not wanting to hate anybody.
I can't watch myself in interviews. I feel like I look like a wreck. My mom is always calling me and going, 'Stop fidgeting,' and it's like, 'You have no idea what it's like, Mom.'
My background is Indian, so I believe in a spiritual idea that there is another level, another layer or layers, if you will, above us. I believe that there are elements that allow things to be drawn together, a sort of energy.
Those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences - they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.
Ninety percent of the people who come to my stores have no idea I don't work with leather.
When I left my home to become an actress, my father didn't give me a single penny. I struggled a lot, and they had no idea what I went through. My grandfather even asked me to drop my surname when he learnt I was joining films.
Today, all physicists know from studying Einstein and Bohr that sometimes an idea which looks completely paradoxical at first, if analyzed to completion in all detail and in experimental situations, may, in fact, not be paradoxical.
I developed 'Trapped' because I was fascinated with the idea of a terrible crime in a small town cut off from the rest of the world.
Art knows neither doctrine nor idea; its nature is to show.
You have no idea what you get involved in when you start a role. You just hope that it's going to be successful.
I think I'm trouble-adjacent. I remember hearing once that good girls don't get caught. I think that's sort of a lot of what my teen years were like. I skirted the stuff that other kids were doing because the idea of actually getting in trouble was not appealing to me, but I still wanted to have adventures.
I think, with Hank Paulson, the concept of a bailout was anathema to him from day one. He was a Republican; he's a free marketeer. He believes in capitalism, and part of capitalism is believing in failure. And so the idea of bailing out an institution, I think, went against every part of him.
I was eighteen when I wrote my first book, and I can't remember what it was called. I have no idea where the manuscript is - I lost it when I was twenty-one.
I love the idea of leaving some of the original abstract thought in, because the problem is that when you pick up a pen you become a snob, your own worse critic. You edit yourself in a way that is non-creative.
The idea of writer as sage is pretty much dead today. I would certainly feel very uncomfortable in the role.
Loving Duran Duran has been one of the constants of my life, but I have no idea what they would sound like if the women in my life stopped loving them. I guess I'll never know. I could claim that Duran Duran taught me everything I know about women, but that's not exactly accurate: I learned it from listening to girls talk about Duran Duran.
I think the idea of the social construction of beauty - this idea that beauty is simply whatever culture or society says it is - is on the run. Of course, beauty does arise in a cultural context. No one ever denies that. But there's also a natural response people have to it.
Hitchhiking was such a pure form of existence. You'd wake up in the morning, and you'd have no idea what your day was going to be. And that's something I've never been able to shake. I loved that.
I don't love the phrase 'balancing work and family.' It sets up this idea of scales of justice with work on one side and family on the other side.
If you want to, if you are a crazy person, you could go from idea to the stands in about four months. It does not cost hundreds of thousands of dollars to make a comic the way it does to make a television show or a movie.
I have had this longstanding interest in going back to school to get a Ph.D. in art history. I was especially interested in exploring this idea of the ecstatic impulse in an artist.
I have zero idea of what my involvement with 'The Lying Game' is going to be. I'm a character that may or may not be permanently involved.
