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Makeup Quotes

“When I was creative director [at Estée Lauder], I was always being asked about my beauty must-haves. From there I had this fun idea to create a line of what was in my makeup bag. But I also love accessories, and people associate me with home, family, and beauty. As a girl, my favorite toy was my dollhouse; if I could still play with it now, I would! I used to love a well-arranged room: the furniture, the fabric, the lighting.”

“I always carry around a giant makeup case with about fifteen items in it. I so want to be the girl who just carries lipstick as if that's all I need, but I'm just not that girl. I need my lipstick, but then, just in case my cheeks start to lose their color, I need my blush. Then I'll need my oil pads...so I just take the whole thing. And now I need a full on fashionable backpack for it all!”

“I think for what success looks like for me, it is a world in which you can look at the achievement scores, the academic scores, of any school anywhere in this country [the USA], and you wouldn't be able to look at the score and determine what the racial makeup or the socioeconomic makeup of that school is simply because of the academic achievement levels.”

“In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.”

“Wives are good on paper, at least. until they turn into harpies with sharp claws and open check books. Then they're kind of frightening. And they put on all kinds of makeup and parade around the street with their shopping cart yelling "Sale on aisle seven!" at anyone who will listen. Their wooden clog sandals make a helluva racket on linoleum tile. Their plastic jewelry clatters like the bones of little children.”

“What I love about directing is finding common ground in complementary palate with wardrobe, set design, the camera department, the makeup department, et cetera. I love figuring out that synergy. To have everything work in concert is amazing, I love working with that kind of logic. Directing is a cavalcade of taste decisions - this one or that one, but I raather enjoy it and am in the process of setting up the next endeavor.”

“It was never a marketing tool. People say that, but I dress this way for the same reasons I did when I first started doing it. It still comes from a serious place inside of me. I get up in the morning, and I think I just look better a certain way I do my makeup. I want to shine, I want to glitter. I'm not getting up thinking, "Oh, this'll get 'em." And I'm not doing it to make a statement. I'm just doing it to look like Dolly - the Dolly that I know and the Dolly that you know.”

“When we unravel the theological tomes of the ages, the makeup of God becomes quite clear. God is a human being without human limitations who is read into the heavens. We disguised this process by suggesting that the reason God was so much like a human being was that the human beings were in fact created in God's image. However, we now recognize that if was the other way around. The God of theism came into being as a human creation. As such, this God, too, was mortal and is now dying.”

“I had to be on the set for 'Who Framed Roger Rabbit' because my character was interacting with Bob Hoskins. It's a lot of 'hurry up and wait.' So there I was, at 2 a.m., sitting in a trailer at Griffith Park trying to stay awake. And I said to myself, 'This stinks.' The way I do it is better. I go into the studio about 10 a.m. There's no makeup to worry about. I can wear whatever I want. As soon I get there, I'm good to go. I record my stuff and go home.”

“You shouldn't speak until you know what you're talking about. That's why I get uncomfortable with interviews. Reporters ask me what I feel China should do about Tibet. Who cares what I think China should do? I'm a f***ing actor! They hand me a script. I act. I'm here for entertainment, basically, when you whittle everything away. I'm a grown man who puts on makeup.”

“Investing is the intersection of economics and psychology. The analysis is actually the easy part. The economics, the valuation of the business isn't that hard. The psychology - how much do you buy, do you buy it at this price, do you wait for a lower price, what do you do when it looks like the world might end - those things are harder. Knowing whether you stand there, buy more, or whether something has legitimately gone wrong and you need to sell, those are harder things. That you learn with experience, by having the right psychological makeup.”

“Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.”

“The Taboo scene was a kind of deconstructed version of the New Romantics. The Taboo crowd was using a lot of the visual ideas that had already been used. I remember the first time I spotted Leigh Bowery and Trojan parading around in clubs: They were in their "Pakis from Outer Space" look, and the makeup was quite similar to one of my old looks, because I was quite fond of wearing blue, green, or yellow foundation, and so I was pretty dismissive of them at first.”

“We [Afghanistan government] were in the process of cleaning up the government when these attacks happened in the north - not only in Kunduz, but also in other provinces. Our special forces are limited - we cannot be everywhere at the same time and we had to defend every district regardless of how insignificant it might be, because of the very social and political makeup of this country.”