We kind of write pop songs, but we don't fit in the pop world. We're really bad at being pop stars and walking down red carpets. We've got our own little bubble, which we really like. We've learned to really like that.
I have a life that I enjoy; I try and value the things that I think are worth valuing and everything else is icing. You know, it is a kick to go down the red carpet in that dress and then you go back home.
I find vacuuming very therapeutic. I like the lines it makes on the carpet.
For example, in your house, you have the heater on the ground itself. Here, it's the gravity. No matter where you are, that's where the gravity is coming from. It's almost like a carpet that you put down. If you're on the other side, it doesn't matter to us because we're still walking on the ground. Actually, at the beginning of the film [Valerian], we see when they install the gravity system.
When I write a book I write the best that I can and so much of that for me is following the book's demands, the subject's requirements - I love books, I always have. They have always been one of the places where I have felt very happy in the world. When I was younger, I loved to read genre fiction - I loved the magic-carpet ride of story! Now I need other things - I need the beautiful particular and strange language and form which brings a writer's book to life in me and speaks to my intellect, and, dare I say it, to my soul.
At home I wear my own clothes, no makeup and don't do anything exciting with my hair. I get to borrow pretty dresses for the red carpet, and have experts do my hair and makeup.
Fashion is very much emotional. When you see it, or when you wear the right clothing, or you wear whatever, it's supposed to make you feel something. You're supposed to feel some type of emotion, and I feel like I try to do that when I'm on a red carpet.
When I'm on a red carpet I want somebody to feel something when they look at what I'm wearing, when they look at the entire ensemble, whether it be nostalgia or excitement, you know?
I've seen looks before that have literally taken my breath away - like someone on the red carpet and it's just like I can't even breathe, like you get some type of amazing anxiety.
I began filmmaking in high school, at the Chicago Academy for the Arts. My first documentary was about a dysfunctional obese middle-aged carpet cleaner named Bill, who lived with his Mom, and his love affair with Anna, a drug-addicted prostitute. I made that when I was 16.
When we talk about carpet bombing ISIL, that's what it looks like, creating huge numbers of civilian casualties, which increases the numbers of refugees flowing out of the region, which increases the misery of the Syrian people.
I love to love. However, you won't see anybody walking the red carpet with me until I'm married.
For the red carpet, I think dress first and the makeup to follow.
We believe that introducing surface-to-air missiles in Syria is going to change the balance of power on the ground. It will allow the moderate opposition to be able to neutralize the helicopters and aircraft that are dropping chemicals and have been carpet-bombing them, just like surface-to-air missiles in Afghanistan were able to change the balance of power there.
The directors were often really nice and I was well behaved, so I would just sit there in rehearsal. That allowed me to see the process - not just the result, the red carpet, all of the wonderful, fun things that happen afterwards - the nuts and bolts, the nitty-gritty, "Let's try to build this character from the page," tech rehearsals.
While we were walking around, we came to the Catholic church, and we saw that some people had set fire to carpets and banked them around the rectory, which was made out of wood. They knew every fire truck on the South Side was going to be in the park, that the rectory would just burn to the ground. Our one little act was putting out that fire.
One of the metaphors of the book is the carpet. Not just the flying carpet, but the carpet as a woven surface in which many repetitions and motifs recur and mirror one another. This is very much reflected within the stories: they have borders within borders, repeated motifs which change. They have their feet in oral conventions, and for the mnemonics, the storyteller needs to have a structure in order to remember the stories.
For example, John Law's Mississippi Company venture printed shares, and the money had gone up in smoke when it had been inscribed objects. The inscription made it magic and changed its meaning. That's how objects become charmed in The Arabian Nights, and they are often originally ordinary objects. The carpet is an ordinary, paltry object. The lamp is a rusty old lamp, and the bottles jinns are imprisoned within are old bottles. They are changed by the magic and the jinn's presence, and the jinn's presence is often embodied in the seal or inscription.
Since I have that edgy, rocker-tomboy kind of vibe, it can be very difficult to translate my style for the red carpet.
Religion is only in the service of the people; it is not in the rosary and the prayer-carpet.
Everyone wants to go to the party and the red carpet, but my life is 90% the work.
I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat.
I've been so blessed because I've had such longevity. I'm not a big red carpet girl. But I love the work. In this business, you can be at the top of the world and at the bottom of the barrel, and you're grape juice. I've been at both ends. It can make you become what you really are.
Red carpets are pretty unpredictable. You can go from one person asking you what you're wearing to the next person asking you about the situation in Haiti. It's the extreme juxtaposition, and some of the questions can throw me!
Rock'n'roll is not red carpets and MySpace friends, rock'n'roll is dangerous and should piss people off
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