After the 9/11 attacks, I dutifully stocked up on rolls of duct tape and N-95 masks, as the government recommended.
I quit my day job the day my daughter was born. I remember flying to Cleveland and hitting a thunderstorm, which caused the plane to lose pressure, and the oxygen masks fell from the ceiling. We felt the plane dropping; the pilot was taking it down to regain cabin pressure. My heart was in my stomach. I found out after landing that her mom was in labor. I did the show and came back to New York. By the time I walked into the hospital, my daughter was being born. She was waiting for me. She's a sweet daddy's girl. She's premed. She has her own pie company. She works for Habitat for Humanity.
When I am halfway there with a painting, it can occasionally be thrilling... But it happens very rarely; usually it's agony... I go to great pains to mask the agony. But the struggle is there. It's the invisible enemy.
If you want something bad enough, you've got to make a bold move. Just make sure you clear the bold move with the people whose lives it's going to affect. Like George Washington, had to get all those guys who the British killed to agree to die. Neil Armstrong, had to crank a couple of elbows into Buzz Aldrin's face mask to make sure he got on the moon first. And Christopher Titus, well, he worked his dad for five grand. Ha ha. Who can't support who ? I know, it's complicated.
Before children, even the most cynical people throw down their usual masks and become capable of feeling the purity and love which all human beings seek.
First group impressions can mask a lot of individual variations in the members.
For that, one has to drop all the masks, one has to risk many things, particularly respectability. That is a bribe by the society. It will give you a Nobel prize and it will give you many honours; it will do everything to make you feel great, if you can fulfil one condition: if you are obedient, obedient like a robot, then all respect is for you. Then the society will make you a great hero, but there will be no grace, no beauty, no freedom, no truth, no being; you have committed a real suicide.
After all the field of battle possesses many advantages over the drawing-room. There at least is no room for pretension or excessive ceremony, no shaking of hands or rubbing of noses, which make one doubt your sincerity, but hearty as well as hard hand-play. It at least exhibits one of the faces of humanity, the former only a mask.
Now I want to live like everybody else. I want to have a wife like everybody else and to take her out on Sundays. I have invented a mask that makes me look like anybody. People will not even turn round in the streets. You will be the happiest of women. And we will sing, all by ourselves, till we swoon away with delight. You are crying! You are afraid of me! And yet I am not really wicked. Love me and you shall see! All I wanted was to be loved for myself. If you loved me I should be as gentle as a lamb; and you could do anything with me that you pleased.
Literature has become too psychological. We discount the physical, when in fact much of life is physical. People's personalities are partly formed by, or in response to, how they take up space; the physical mask has some relation, howsoever obscure, to the mental work happening underneath.
Society is about masks and hiding and pretending to be something that you're not and not opening up, and in acting, you do all of those things, but it also shows the performers in a very raw state. They have to literally upset themselves to get to that position sometimes. You don't need a load of people judging you or not being interested in what you're doing or being an ass on set because it ruins it.
As a child I always loved traditional Korean masked dances. There is something magical about a mask because we all wear or hide behind a metaphoric mask, and ultimately underneath this metaphor is our true vulnerable core. I think we all want to reveal ourselves but can only do so when we feel we are safe.
White people are getting more and more angry every day, Donald Trump was elected that the mask of civility - like an onion peeling - is being peeled off. Now naked hatred, not only in word but in deed, is being openly shown to us.
We chose to do a reality show with my husband Dean McDermott, because we wanted to give the reality of our situation, not to kind of mask it if the things got kind of uncomfortable. So we pretty much put it all out there and I think the viewers will appreciate that.
I am one of those actors who does feel a change when a wig and fake nose are put on. Even the weird little things, like glasses - it's almost like having a mask on.
I'm a champion napper. For the past decade, I've taken a nap at lunch on set. I have a noise machine app on my phone, headphones - and that's key. That's probably the most important thing. If I can get an eye mask on, that's great. And that's it. After a half an hour, I'm like a new person. It's just in that first half an hour, don't talk to me.
Singing is a kind of sport and a singer a kind of athlete and following this model becoming "vocally fit" - building vocal muscles - should be the point of any form of voice teaching. Other approaches don't work directly on building vocal muscles but instead focus on so-called diaphragm support and breathing, mask singing, breath control, throat relaxation - all of which are useless at best and harmful at worst.
With a film you go with the script that's already written. And I've never thought of a project, a film that would come from my own desire. I don't think I can do it. I need someone else's desire to be able to do something. With a record, it is completely different, it's a collaboration with another artist, but I'm willing to go into intimate places with no masks on.
The idea of cultural relativism is nothing but an excuse to violate human rights. Human rights is the fruit of various civilizations. I know of no civilization that tolerates or justifies violence, terrorism, or injustice. There is no civilization that justifies the killing of innocent people. Those who are invoking cultural relativism are really using that as an excuse for violating human rights and to put a cultural mask on the face of what they're doing.
Art devoid of danger lacks many other things as well: pleasure, beauty, and the ability to save us. Poems that divest the self of its masks in order to analyze how those masks are made - by what means, by whom, for what ostensible purpose - those poems risk offering us refuge.
If you can express something in the simplest way possible, I think there's something noble in that. It's easy to flesh stuff out and get all purple with it, being cryptic and wearing masks... I think it's a bit adolescent. I wanted to write in a way that was vulnerable. I wanted to have courage in stripping back the opaque stuff so it was just raw. I like lyrics that are a lifeline, that have a purpose to them and are not just meandering around in a masturbatory way. They cut the page.
Once you put a mask on, if you allow it to, it can really transform you, and that's what a costume does.
Smart people understand that there is no such thing as paranoia. It is just another mask for ignorance.
I am not for any form of repression, but I sometimes think the desire for liberation masks the desire for oblivion. It's very hard to tell the difference sometimes.
I think it became blurry because I grew up in a very private family. I mixed privacy and secrecy up somewhere along the line. Everything became a secret, and I thought that was how you should live. Lying about everything. The mask I put on as a kid to survive was the funny lady. Then the funny person all of a sudden became harder to do without substances. Substances let me keep the mask on longer. Until it doesn't work anymore and you're just a mess.
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