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W Quotes

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All W Quotes

“Well, that's why I really love Diego Della Valle, because he's crazy. Instead of going out to find a top business school graduate, for whom it would have taken five years to see the difference between a ballet shoe and a book, he asked me to revive the label. It's a bit like Balenciaga. Brands like Vivier are pillars - they are monuments of fashion; they are names we don't forget. But the general public doesn't necessarily know that and therefore we had to get the name re-known.”

“Well, that's why smart people get tripped up with worry and fear. Worry...fear...is just a misuse of the creative imagination that has been placed in each of us. Because we are smart and creative, we imagine all the things that could happen, that might happen, that will happen if this or that happens. See what I mean?”

“Well, that’s just a little hard, since I can’t even talk her into sparing your life, huh? You haven’t exactly endeared yourself to her. (Kat) Oh, excuse my utter lack of manners there. Should we call Mommy dearest and invite her over for tea? I promise to be on my best manners when I choke the life out of her. (Sin)”

“Well, the album 'Intuition' is out and just went platinum officially. So I think to have the music doing what it's doing right now, man, it's the ultimate. Nobody is really selling records out there but we are at a million records and we dropped it at Christmas, so we are just trying to get that thing to like two million, you know.”

“Well, the American public always wanted to vote for a guy — and Bush was the perfect guy — who they'd want to have over for pot-roast. And George Bush is that guy. He does that well. You'd like to have him over for pot-roast. He reminds you of yourself. Okay. Well, now he's been over, he's had the pot-roast. But he's getting drunk and now he's talking about stem cells and Terri Schiavo and gay marriage. And now he's the guest that won't leave.”

“Well, the beginning is actually quite easy, because I can still be quite free about the way I handle things - colours, shapes. And so a picture emerges that may look quite good for a while, so airy and colourful and new. But that will only last for a day at most, at which point it starts to look cheap and fake. And then the real work begins - changing, eradicating, starting again, and so on, until it's done.”

“Well, the difference in working with the Supremes and the other girl groups like Martha and the Vandellas, and the Marvelettes, you let the material dictate to you, uh, really, how you worked with the group, and with the talent, and the personalities. All of these things was instrumental in having all of the groups, uh, retain their own identity. Uh, and, and the material had a lot to do with it, you know.”

“Well, the experience for me making a film is the most profound one. I really don’t have any business watching the movie so much. Maybe I could watch it for entertainment purposes, but you have so little input and control of the final product once you’re done that I feel like I just would rather leave it alone. It kind of leaves me in a place where every film I do, I’m kind of having to reinvent and figure out how to start again fresh, and hopefully not repeat myself.”

“Well, the fella I got on there is hitting pretty good and I know he can make that throw, and if he don't make it that other fella I got coming has shown me a lot, and if he can't I have my guy and I know what he can do. On the other hand, the guy's not around now. And, well, this guy may be able to do it against left-handers if my guy ain't strong enough. I know one of my guys is gonna do it.”

“Well, the film's not only pricking the pomposity of the Church, it's pricking the pomposity, and sometimes you would think fraudulence, of the insurance companies. I had never read anything like this until I was doing the film, but Mark [Joffe, the director] and people showed me stuff where, like a flood, it mattered where the water came from. If you're flooded from above, you get the money; if you're flooded from below, you don't. What's that about?”

“Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.”