So, one, that DJ Spooky is a lot you know this sort of wilder persona and then Paul Miller is more of a nuts and bolts kind of person, meaning just making sure all these things work.
She was obviously useful at the UN because she had a public persona before she ever got there. She was well known. She was a spokeswoman for many important things. When she got there, what she said was paid attention to, undoubtedly much more than would have been if just Joe Blow had been made our representative to the United Nations. In that sense, I think it was useful to have her there.
[David] Bowie had a genius for continual change himself, reinventing his sound and his image throughout the decades. Each album seemed to find Bowie in a different persona, with a new sound to match his new look.
Whatever role we were in our family of birth, we take on this persona and in your 20s and 30s in particular, you end up thinking that's you and that isn't necessarily you.
The people who know the sort of personality or persona that I give across more on Twitter just realize that I'm just being messy and I'm just snatching wigs.
I'm persona non grata at the New Yorker.
There's such a grace and understanding in the female persona when women have really come into their own. Part of that is to have children, and to be caring for those children, and not only in the care for them, but also in the nurturing and raising of them, they have to pass on their souls and their intelligence. And all those things can't be taught. It's something that, that in the essence of a woman, the essence of a mother, a mother knows!
That was actually Lloyd Phillips who was a Kiwi film producer in L.A. And it was about Gorgeous George, not Haystacks Calhoun. I was in a couple of Lloyd's films and got approached to write the story. People don't realize it, but Gorgeous George had this flamboyant, camp stage persona that had a tremendous influence on other celebrities, like Elton John, Liberace, Elvis Presley, and Mohammed Ali, who all wanted to establish their own outlandish stage personas. The project died because Gorgeous George's wife refused to give up the rights.
My standup persona is like I'll heighten things, but I'm observing the world as it is in sort of a heightened emotional state.
From Marilyn Monroe and beyond, that's a huge part of Hollywood, creating a persona that's mysterious and fairly simple, though it's interesting how that's changing: Now, you have fans who are like, "Um, yeah, I just emailed with Barack Obama and tweeted with Lady Gaga, so I'm kinda right there with you; give it to me."
I think I created my particular stage persona out of my dad's life. And perhaps I even built it to suit him to some degree. I was looking for - when I was looking for a voice to mix with my voice, I put on my father's work clothes, as I say in the book, and I went to work.
We're being asked to continually be "authentic" and "honest" with the world through social media. There's a demand to post our wedding pictures, baby pictures (only minutes after the birth), our relationship status, and our grief and joys on Facebook and Instagram. Similarly, we construct persona through dating apps and networking sites. All of these social media networks exert pressure on us to share the personal details of our lives with unknown masses. So the pressure on the characters in "Openness" isn't merely romantic, but public/social as well.
I'm not like a persona. I'm not a caricature of myself.
I've learned that it's harder to try to put on this goody two-shoes persona when that's not me.
There's just something about me and my persona that's a little bit bigger than life and ridiculous at times.
Being honest in the spotlight is the worst idea . But I do like when artists are honest and are able to build a persona for the artwork with their honesty. That's really good.
Everything I learned and didn't do in New York I would put into place here in the London West Hollywood. It's fascinating, when you look at the critics' reviews, and we had a great one in the New York Observer and all that, and then the New York Times came and it was a devastation; two stars out of four. They said that I played safe because it wasn't fireworks. Then they judged the persona over the substance that was on the plate.
When you sing, you put on a persona. I hide behind that person on stage. You can feel like death, but you have to put it on. The audience wants to see someone smiley.
Women innately have this weird thing where they try to have a perfect persona - to look perfect, be perfect, act perfect, have their kids look a certain way. Women put so much pressure on themselves.
I had to imagine myself into certain aspects of [Julian Assange] character for our version of events. That involved extrapolating based on clues in his biography, his public persona, photographs, and other accounts of him by people who encountered him during that extraordinary period from 2007 to 2010 that we charted in the film [The Fifth Estate]. So, it involved a lot of research but, sadly, no contact with the man himself.
It's the way I feel about acting. That we are given clues by a writer about someone's essence or persona and it's our job to try to figure out which of those clues are true, which of clues we decide to follow and which of those clues we think are red herrings, or only in the way another character thinks of that character.
I've always tried to be honest, and it would be too difficult for me to develop some kind of persona. I don't have enough time or energy for that.
I'm still very careless about my public persona. Not careless so to speak but I'm not one for fame. I think fame is the worst part about it.
I think it's basically the same game, although with a public figure like [Donald] Trump I think you are bound to consider the public persona rather than the private one. At least that was the case with that piece of writing.
When I'm writing, especially when I'm writing in first person, I don't think about the characterization, or how they are going to express themselves, I just express my own approach to these things. I think most writers can never divorce themselves from their private lives and personas; they are the ones that are writing. And the more they remove themselves from their own persona, the more, perhaps, mechanical the work becomes.
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