After I made my hit in 'Salome,' Universal sent me to New York so I could learn to be a proper movie star.
The human mind is like Salome at the beginning of dance, hidden from the outside world by seven veils. Veils of reserve, shyness,fear.
I don't like ordinary girls. But a girl who would kill a guy to make him hers and then kiss his still-warm lips... a girl like Oscar Wilde's Salome They drive me crazy. Like Kiyohime turning into a snake to chase her man or the grocery girl Oshichi who set fire to a building just to see hers one more time. I want to be loved like that be obsessed over be hated.
My Salome is a mystic the sister of Salammbô a Saint Thérèse who worships the moon.
Salome had but seven veils; the artist has a thousand.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
Elizabeth Taylor is pre-feminist woman. This is the source of her continuing greatness and relevance. She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary clich?. But the femme fatale expresses women's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all men's relations with women.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
[Oscar Wilde's Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that's why I guess it's semi-autobiographical.
When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
I think what you see [in Salome the play backstage] is an artist having this fit of temperament.
It has never been recommended to confuse "loving" with "seeking to please"... ...Salome pleased Herod's guests; I can hardly believe she was burning with love for them. As for poor John the Baptist... ...she certainly did not envelop him in her love.
Jesus. Jesus Christ and Mary Magdalene. Delilah, Jezebel, Salome, Judith, Eve. Trouble, every last one. Add Minerva Highwood to the list.
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