In comparison to other women in the world, perhaps I'm seen as smaller. But I've never had a problem thinking of myself as a large woman.
Frances McdormandRead
Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.
Interpretation
Female characters in literature are complex and authentic, while film often portrays them less richly.
Frances McDormand highlights the disparity between female character representation in literature and film. While literary female characters tend to be well-rounded, flawed, and realistic, film often simplifies or idealizes them, stripping away their depth and complexity, which diminishes the richness of their stories and experiences.
In practice
This quote can be used in a discussion on gender representation in media.
In comparison to other women in the world, perhaps I'm seen as smaller. But I've never had a problem thinking of myself as a large woman.
It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.
That's another great thing about getting older. Your life is written on your face.
There's only two givens with choosing acting as a profession: one is you will always be unemployed, always, and it doesn't matter how much money you make, you're still always going to be unemployed; and that you have no power.
My feminist training was that this was your goal, to be a self-sufficient woman, but that is a miscalculation. It's just not the way we work. We work in dialogue with the community.
I think that cosmetic enhancements in my profession are just an occupational hazard. But I think, more culturally, I'm interested in starting the conversation about aging gracefully and how, instead of making it a cultural problem, we make it individuals' problems.
Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.
When I was in Cambridge reading mathematics, I went to Amsterdam for the International Mathematics Congress. There I saw M.C. Escher's fascinating work. That inspired me to try my hand at drawing such impossibilities.
I began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
Everything we see hides another thing, we always want to see what is hidden by what we see.
I would have liked to be - indeed, I should have been - a second Rembrandt.
When I was little, my ambition was to grow up to be a book. Not a writer. People can be killed like ants. Writers are not hard to kill either. But not books: however systematically you try to destroy them, there is always a chance that a copy will survive and continue to enjoy a shelf-life in some corner on an out-of-the-way library somehwere in Reykjavik, Valladolid or Vancouver.
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