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“I wasn't a jock in school, and by the 10th grade, when I was in boarding school I was carrying water buckets for the girls' hockey team. I was the kid with long hair and glasses and acne trying to learn how to play guitar and piano in the music center. I was not an athlete past the age of 13 or 14 when they start throwing the ball really fast.”

“I'm sitting in the bleachers, watching longingly as all the boys and umbumped girls in my Personal Health and Fitness class play Muggle Quidditch. I don't even like the game very much, I think it's silly, but I so miss physical activity that I'd be thrilled if I could run around the gymnasium with a broom between my legs, chasing after the human snitch wearing a gold pinny.”

“I used to play Barbies with my Mormon neighbor friend; it was always, "Oh, we're going to go on a date. Ken's taking us out, and we're going with Ken on a date." And I was like, "We're parachuting behind enemy lines to save the Jews." That's how I played Barbies. I was told when I was a girl that every Jewish woman has to have five children to replace three fifths of our people that were killed. That's how I was raised.”

“When I was a kid I would much rather have been a good baseball player or a hit with the girls, but I couldn't play ball. I couldn't dance. Luckily, the girls didn't want me. Not much I could do about that. So I started to draw and to write By the time I got to where I was attracting girls, I was already into work, and it was more important to me. Not that I wouldn't rather make love, but the work has become a habit.”

“For me it's about the character, not as much about the genre of it [movie]. I'm excited that I get to work and play interesting characters and I'm not just the girl who gets to play the girlfriend or the wife. I get to play real women who have struggles and troubles and passions and that's always what I hope to do no matter what format that lies in.”

“I was quite intimidated by Ralph Fiennes. I didn't really talk to him while I was doing Harry Potter and the Goblet of Fire and the only thing I did with him was when he stepped on my head. Then I went to this play and he was there. And this girl said, “you've worked with Ralph Fiennes haven't you, Robert?” and I was like, “well, no...” and Ralph said, “yes, I stepped on your head.” And that was the extent of our conversation.”

“Even if you have the wit to look by yourself in a bush away from the other children, there are not many bell crickets in the world. Probably you will find a girl like a grasshopper whom you think is a bell cricket.And finally, to your clouded, wounded heart, even a true bell cricket will seem like a grasshopper. Should that day come, when it seems to you that the world is only full of grasshoppers, I will think it a pity that you have no way to remember tonight's play of light, when your name was written in green by your beautiful lantern on a girl's breast.”

“I wrote my first play, Uncommon Women and Others, in the hopes of seeing an all-female curtain call in the basement of the Yale School of Drama. A man in the audience stood up during a post show discussion and announced, “I can't get into this, it's all about girls.” I thought to myself, “Well, I've been getting in to Hamlet and Laurence of Arabia my whole life, so you better start trying.””

“We must uncover our rituals for what they are: completely arbitrary things, tied to our bourgeois way of life; it isgood-and that is the real theater-totranscend them in the manner of play, bymeans of games and irony; it is good to be dirty and bearded, to have long hair,to look like a girl when one is a boy (and vice versa); one must put "inplay," show up, transform and reversethe systems which quietly order us about.”

“Girls . . . were allowed to play in the house . . . and boys were sent outdoors. . . . Boys ran around in the yard with toy guns going kksshh-kksshh, fighting wars for made-up reasons and arguing about who was dead, while girls stayed inside and played with dolls, creating complex family groups and learning how to solve problems through negotiation and roleplaying. Which gender is better equipped, on the whole, to live an adult life, would you guess?”

“Masculinity varies from time to time and place to place. But it doesn't exist just in the mind of a single guy: it is shared withthe other guys. It is a code of conduct that requires men to maintain masculine postures and attitudes (however they are defined) at all times and in all places. Masculinity includes the symbols, uniforms, chants, and plays that make this the boys' team rather than the girls' team.”

“And even if we win, if we win, HAH! Even if we win! Even if we play so far above our heads that our noses bleed for a week to ten days; even if God in Heaven above comes down and points his hand at our side of the field; even if every man woman and child held hands together and prayed for us to win, it just wouldn't matter because all the really good looking girls would still go out with the guys from Mohawk because they've got all the money! It just doesn't matter if we win or we lose. IT JUST DOESN'T MATTER! It just doesn't matter! It just doesn't matter!”

“I spent the nights before the Jets' two biggest games last year - for the AFL championship and the Super Bowl - with girls. But I don't consider that bad or foolish of me... The night before a game, I prepare myself both mentally and physically for the next day. I think a ballplayer has to be relaxed to play well; and if that involves being with a girl that night, he should do it.”

“Four- and five-year-olds' play is permeated with the rankest sexism. No matter what their parents do and say, they play their momand pop roles in ultraconventional style. We've seen little girls whose mothers are doctors absolutely refuse to take the doctors' parts in their play, insisting that "only boys can be doctors," against all reason. Girls do more washing and drying of clothes, dishes, and babies than they've ever seen their own mothers do, and they turn their play husbands into TV-watching drones who do nothing but talk about money.”

“I was off the scene for a while during the ska period and when I returned and joined the Treasure Isle studio, I came there with a different mood. The musicians picked up on that and we kept on going in that direction. The music became slower, which gave the bass player the time to play more notes. In 1965 I named it rocksteady. The first rocksteady song was 'Girl I've Got A Date'. That one was still a bit up-tempo, leaning towards ska. It turned the tide and made Treasure Isle the number one studio.”