Quotes About Superficiality

You want to fall in love with a shoe, go ahead. A shoe can't love you back, but, on the other hand, a shoe can't hurt you too deeply either. And there are so many nice-looking shoes.

There is one thing infinitely more pathetic than to have lost the woman one is in love with, and that is to have won her and found out how shallow she is!

She smiled blankly at me. 'I love your dress,' I said, the universal smoother for two women who have absolutely nothing to say to each other.

So she was well proportioned. So her hair was all glossy. So she looked as if her lips had never been the wrong side of a second doughnut in her life. What was any of that to me?

Driving a Porsche is like fucking a model," he says, and he would know. "It will never feel as good as it looks.

Driving a Porsche is like fucking a model. It will never feel as good as it looks.

You're like Marilyn Monroe,' Ken tells me, which I take as a compliment and say a nervous "Thank You". Interrupting, he adds, 'You're all velvet and Velcro. Men want you because you're sexy and broken and when it gets too rough they can say "Hey! This toy is broken!" and toss you aside without feeling bad.

A lot of very beautiful women can be a pain because all they're thinking about is how they look.

Palabras superficiales: el amor y el marron glacé son una misma cosa: esplendor por fuera; y por dentro, una castaña helada.

Qué caras! ¡Qué tipos! Era la burguesía anodina y zafia de todo el Globo pronta a volcarse en las entrañas del paquebote para recrearse en un viaje de circunvolución mediterránea que iba a durar un mes y del que volverían tan anodinos y tan zafios como se habían marchado, pero llenos de la soberbia y de la presunción que dan ciertos nombres de leyenda a quien los pronuncia sin estar habituado a ellos.

I neka ti uvijek bude na umu da nisi ljudski stvor ve? samo obi?an turist. ne daj se zavesti izvanjskom ljubaznoš?u: ona ne ide tebe ve? tvoju lisnicu.

I am young, I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another.

Could it be that nothing can truly make people long for 'anything' or 'anybody' anymore? Is everybody invading the catwalk of superficiality and acquiring artificial gadgets to create a pretense of desire? Have they, really, ended up in a twilight of desire? ( "Crépuscule du désir" )

Some will buy things, which they don't really need, with money they don't have, for people they don't actually care for. In the end however, they find their financial assets and, even more so, their corporeal capacity, completely undermined. ( "Keeping up with the Joneses" )

What is't to be adorn'd and shine with Gold, Drest like a God, but never know the Pleasure?

Ash turned out to be a young man half a head taller than me, broad of shoulder, clear of eye, noble of brow and empty of thought.

It seemed he was the perfect lover, at least for the moment. He did not live where you lived. He did not see you often enough, or for long enough, for you to grow bored, or to feel afraid that you were not feeling love---or worse, that you were. The perfection had a cost, which is that he was not in any true sense a real person. He was a coat you bought off the rack, an unsuperlative fashion statement.

As Oscar Wilde remarked: "It is only shallow people who do not judge by appearances.

Fond pride of dress is sure a very curse

if you judge a book by its cover,a fish will be thinking how stupid it looks its whole life.

Things are only mannequins and even the great world-historical events are only costumes beneath which they exchange glances with nothingness.

I sometimes think people hire me only for my eyes. If they could, they'd probably say, please leave your eyes on the set, we don't need the rest of you.

People look at you and see a product. They don't see a soul. They see an empty hole.

I just don't like the whole Hollywood thing.