Quotes About Ambivalence

She could make no more demands. He wasn't sure whether the thought pleased or dismayed him.

My career is a burden, but I can't just fade out like a pathetic sore loser. More often than not, I'm just making a fool of myself for the hundredth time, and that wasn't part of the plan, initially. I'd be happier not having any kind of public presence whatsoever and just hiding behind the sleeves of the CD.

Like most people, I have this sort of love-hate relationship with Pittsburgh. This is my home, and at times I miss it and find it tremendously exciting, and other times I want to catch the first thing out that has wheels.

Where I am, I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on.

I like poems where you don't really know whether to laugh or cry when you read them.

I prefer to work with grey characters rather than black and white.

I have no ambitions to be a cabinet minister, or prime minister. I wouldn't wish being prime minister on my worst enemy.

It's funny: I don't feel like I have any particular privileged feeling for the Fifties.

Prizes are like butterflies, colorful butterflies that fly away. I don't believe in prizes much.

I was excited to be nominated for the Grammy, but prizes are a little strange.

I don't think I'm a gay icon. I have no axe to grind. I mean, I'm clearly not homophobic! I'm not pro or con.

The ambivalence of writing is such that it can be considered both an act and an interpretive process that follows after an act with which it cannot coincide. As such, it both affirms and denies its own nature.

Production is something I've never come to terms with.

I only took a high school acting class because there was no other class I wanted to take. I loved it, but I was always against acting as a profession. I didn't like the monetary fluctuations I saw.

I was having a dilemma whether I wanted to return to acting at all because I was coming from this sort of agency-less childhood career, and I'd never made the choice to go into acting.

'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.

After 'The Room' premiered in 2003 - which went exactly as it does in 'The Disaster Artist' - I didn't think it was going to go anywhere. It wasn't a film I wanted to share with people.

There's so much I love about home, but then there's a lot that I can acknowledge that I dislike about home. And acknowledging that to myself helps me see that place more clearly and to bring readers to that place.

I may write about place and displacement, but what I'm really writing about is dispersion, evasion, ambivalence: not so much a subject as a move in everything I write.

I didn't even think anyone would want to make 'Cop Car,' and then I didn't think anyone would want to distribute 'Cop Car,' and then I didn't think anyone would want to see 'Cop Car.'

Using creative expression as a means to a professional end makes me curl up a bit.

There's no right or wrong, success or failure.

I think I may be the most well-adjusted person you'd ever meet who thinks constantly about falling out of her life. And my life is pretty great! It's not like I don't know that.

I've always had a lot of ambivalence about fame and celebrity.