Lily > Lily's Quotes

“Most men judge your importance in their lives by how much you can hurt them, not by how happy you can make them.”
― Marilyn Monroe, My Story

“Marilyn Monroe was a Carefree Scamp and she often felt like she didn’t belong, as if she’d somehow landed on the Wrong Planet. Clearly she wouldn’t phrase it that way, but throughout her life she was searching for members of her own tribe”
― Karl Wiggins, Wrong Planet - Searching for your Tribe

“From the first time I set eyes on Marilyn, I thought she was just wonderful. On the silver screen, her lovely skin and platinum hair were luminescent and fantastic. I loved the fantasy of it. In the fifties, when I grew up. Marilyn was an enormous star, but there was such a double standard. The fact that she was such a hot number meant that many middle-class women looked down on her as a slut. And since the publicity machine behind her sold her as a sex idol, she wasn’t valued as a comedic actor or given credit for her talent. I never felt that way about her, obviously. I felt that Marilyn was also playing a character, the proverbial dumb blonde with the little-girl voice and big-girl body, and that there was a lot of smarts behind the act. My character in Blondie was partly a visual homage to Marilyn, and partly a statement about the good old double standard.”
― Debbie Harry, Face It

“The worst thing is to have all that clout and not know your own mind. If she says her (Marilyn Monroe's)favorite color is beige, that has to be a definite possibility. Then she will be as dangerous as a Chinese Empress.”
― Colin Clark, The Prince, the Showgirl, and Me: Six Months on the Set With Marilyn and Olivier

“There’s no explaining a person like that [Marilyn Monroe]… terrible.”
― Arthur Miller

“Maybe she herself is a kind of fatal woman, like Marilyn Monroe in Niagara, with invisible spider webs coming out of her, entangling men because they can't help it, and the spider can't help it either because it's her nature. Maybe she's doomed to be sticky.”
― Margaret Atwood, The Heart Goes Last

“She had told Kazan that she was bored with the roles she was playing because so many of them had been basically the same kind of empty-headed characterization. She wanted nothing ore than to challenge herself with more complex parts--and also wanted others to think of her as being more than a caricature.
...
Anytime she had an opportunity to broaden her mind, she wanted to take advantage of it.”
― J. Randy Taraborrelli, The Secret Life of Marilyn Monroe

“It struck me today that the people that have had an impact on me are the people who didn't make it. Marilyn Monroe, Judy Garland, Montgomery Clift, Lenny Bruce, Janis Joplin, John Belushi. It's not Making It to be Marilyn Monroe, but it is to me.

In our culture these people are heroes. There's something inside of that- a message that killing yourself like that isn't so bad. All the interesting people do it, the extraordinary ones. A weird, weird message. Most of the people I've admired in show business-comedians, writers, actors-are alcoholics or drug addicts or suicides. It's bizarre. And I get to be in that club now. It's the one thing I cling to in here: Wow, I'm hip now, like the dead people.

Romancing the stoned.”
― Carrie Fisher, Postcards from the Edge

“Ayn Rand brings the best and the worst animal instinct out in humans. Well, excuse me, I aspire to be further evolved ethically than that. I really believe that Ayn Rand is the Marilyn Monroe of philosophy--all seduction, little substance.”
― John Stuart Caitlin Stuart

“There’s something in her that’s looking for the basic reality of a given situation.”
― Anthony Summers, Goddess: The Secret Lives of Marilyn Monroe

“I wanted to be platinum blond. On our black-and-white television and at the theater where they screened technicolor movies, there was something about platinum hair that was so luminescent and exciting. In my time, Marilyn Monroe was the biggest platinum blond on the silver screen. She was so charismatic and the aura she cast was enormous. I identified with her strongly in ways I couldn’t easily articulate. As I grew up, the more I stood out physically in my family, the more I was drawn to people that I felt I related to in significant way. With Marilyn, I sensed a vulnerability and a particular kind of femaleness that I felt we shared. Marilyn struck me as someone who needed so much love. That was long before I discovered that Marilyn had been a foster child.”
― Debbie Harry, Face It

“Fear and desire for pleasure. Aggressiveness comes out of fear, predominantly, and sexuality predominantly out of the other. But they mix in the middle. Anyway, both of these impulses can destroy order, which comes out of both drives, and which is another human need I haven't yet fit into my scheme. So both have to be controlled. But in fact, despite religious commands to the contrary, aggressiveness has never really been condemned. It's been exalted, from the Bible through Homer and Virgil right down to Humbert Hemingway. Have you ever heard of a John Wayne movie being censored? did you ever see them take war books off the bookstands? They leave the genitals off Barbie and Ken, but they manufacture every kind of war toy. Because sex is more threatening to us than aggression. There have been strict rules about sex since the beginning of written rules, and even before, if we can believe myth. I think that's because it's in sex that men feel most vulnerable. In war they can hype themselves up, or they have a weapon. Sex means being literally naked and exposing your feelings. And that's more terrifying to most men than the risk of dying while fighting a bear or a soldier. Look at the rules! You can have sex if you're married, and you have to marry a person of the opposite gender, the same color and religion, an age close to your own, of the right social and economic background, even the right height, for God's sake, or else everybody gets up in arms, they disinherit you or threaten not to come to the wedding or they make nasty cracks behind your back. Or worse, if you cross color or gender lines. And once you're married, you're supposed to do only certain things when you make love: the others all have nasty names. When after all, sex itself, in itself, is harmless, and aggression is harmful. Sex never hurt anyone.”
― Marilyn French, The Women's Room

“That’s why male adults, and some females too, experience the presence of a strong woman as a dangerous regression to a time of their own vulnerability and dependence.”
― Gloria Steinem, Marilyn: Norma Jeane

“For about five minutes, as I tried to get the Vespa to start, I fell in love with her. The oversized raincoat made her look about eight, as though she should have had matching Wellies with ladybugs on them, and inside the red hood were huge brown eyes and rain-spiked lashes and a face like a kitten’s. I wanted to dry her gently with a big fluffy towel, in front of a roaring fire. But then she said, “Here, let me—you have to know how to twist the thingy,” and I raised an eyebrow and said, “The thingy? Honestly, girls.” I immediately regretted it—I have never been talented at banter, and you never know, she could have been some earnest droning feminist extremist who would lecture me in the rain about Amelia Earhart. But Cassie gave me a deliberate, sideways look, and then clasped her hands with a wet spat and said in a breathy Marilyn voice, “Ohhh, I’ve always dreamed of a knight in shining armor coming along and rescuing little me! Only in my dreams he was good-looking.” What I saw transformed with a click like a shaken kaleidoscope. I stopped falling in love with her and started to like her immensely. I looked at her hoodie jacket and said, “Oh my God, they’re about to kill Kenny.” Then I loaded the Golf Cart into the back of my Land Rover and drove her home.”
― Tana French, In the Woods

“judgement and a ridiculously high-pitched voice, along with Marilyn Monroe hair and skimpy clothing. Let’s face it: What horror-movie buff didn’t secretly want the sexiest girl to die a gruesome death?”
― Trisha Das, Never Meant to Stay

“Lina was flawlessly impassive. A living, breathing Barbie doll with no greater purpose than to be played with and admired. It was a shame, in a way. Like opening a meticulously wrapped Christmas present to find nothing inside, and her packaging was nothing short of perfection. She reminded me of a 1950s pinup model—Marilyn Monroe with the most vibrant blue eyes I’d ever seen. And that voice. Jesus Christ, that voice. The natural huskiness made every word sound like something whispered naked in the dark. All together, it was enough to make a man forget his own name.”
― Jill Ramsower, Vicious Seduction

“Over the next few years, Marilyn taught herself through trial and error how to heighten the effect she had on men. Her voice had always been attractive—it was the voice of a little girl. But on film it had limitations until someone finally taught her to lower it, giving it the deep, breathy tones that became her seductive trademark, a mix of the little girl and the vixen. Before appearing on set, or even at a party, Marilyn would spend hours before the mirror. Most people assumed this was vanity—she was in love with her image. The truth was that image took hours to create. Marilyn spent years studying and practicing the art of makeup. The voice, the walk, the face and look were all constructions, an act. At the height of her fame, she would get a thrill by going into bars in New York City without her makeup or glamorous clothes and passing unnoticed.”
― Robert Greene, The Art of Seduction

“First and foremost, a Siren must distinguish herself from other women. She is by nature a rare thing, mythic, only one to a group; she is also a valuable prize to be wrested away from other men. Cleopatra made herself different through her sense of high drama; the Empress Josephine Bonaparte’s device was her extreme languorousness; Marilyn Monroe’s was her little-girl quality. Physicality offers the best opportunities here, since a Siren is preeminently a sight to behold. A highly feminine and sexual presence, even to the point of caricature, will quickly differentiate you, since most women lack the confidence to project such an image.”
― Robert Greene, The Art of Seduction

“Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s.

After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950), drew attention. By 1952 she had her first leading role in Don't Bother to Knock and 1953 brought a lead in Niagara, a melodramatic film noir that dwelt on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe's last completed film was The Misfits, co-starring Clark Gable with screenplay by her then-husband, Arthur Miller.

Marilyn was a passionate reader, owning four hundred books at the time of her death, and was often photographed with a book.

The final years of Monroe's life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibility of an accidental overdose, as well as of homicide, have not been ruled out. In 1999, Monroe was ranked as the sixth greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol.

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I believe that everything happens for a reason. People change so that you can learn to let go, things go wrong so that you appreciate them when they're right, you believe lies so you eventually learn to trust no one but yourself, and sometimes good things fall apart so better things can fall together”
― 팔팔정 구매방법,팔팔정 구입방법,팔팔정 효과,팔팔정 판매

“Without deception, sexual attraction isn’t possible. Men deceive women in many ways, and women deceive men on a whole different, god-like level. It’s not just makeup. It’s something far much greater. Many women try to play dumb, lest the man get scared of their intellectual abilities. Many women fake flexibility when it comes to opinions, as they know many men aren’t accepting of a highly opinionated woman. It’s a multitude of things with women. Whereas with men, things are quite simple. They just have to portray that they are the most sorted out guys, will be good providers, and know what they are doing in their lives. Putting it in a nutshell, both men and women deceive each other. But after a few months of marriage, the veil of deception is lifted. The woman who once seemed timid suddenly begins to voice her concerns. The woman who once seemed flexible suddenly begins to assert her unpopular opinions and impose her will. Men disappoint too. The woman realizes her guy isn’t as sorted out as he pretended to be. All in all, only when people start living together do they come to know of their partners for real. No wonder why so many love marriages end up in divorce within a year.”
― Abhaidev, The World's Most Frustrated Man

“A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under the inky sky, the very last place you would expect astonishing things to happen. Harry Potter rolled over inside his blankets without waking up. One small hand closed on the letter beside him and he slept on, not knowing he was special, not knowing he was famous, not knowing he would be woken in a few hours' time by Mrs. Dursley's scream as she opened the front door to put out the milk bottles, nor that he would spend the next few weeks being prodded and pinched by his cousin Dudley...He couldn't know that at this very moment, people meeting in secret all over the country were holding up their glasses and saying in hushed voices: "To Harry Potter - the boy who lived!”
― J.K. Rowling, Harry Potter and the Sorcerer's Stone

“Can you think what the Mirror of Erised shows us all?" Harry shook his head.

"Let me explain. The happiest man on earth would be able to use the Mirror of Erised like a normal mirror, that is, he would look into it and see himself exactly as he is. Does that help."
Harry thought. Then he said slowly, "It shows us what we want... whatever we want..."
"Yes and no," said Dumbledore quietly.
"It shows us nothing more or less than the deepest, most desperate desire of our hearts. You, who have never known your family, see them standing around you. Ronald Weasley, who has always been overshadowed by his brothers, sees himself standing alone, the best of all of them. However, this mirror will give us neither knowledge or truth. Men have wasted away before it, entranced by what they have seen, or been driven mad, not knowing if what it shows is real or even possible.

"The Mirror will be moved to a new home tomorrow, Harry, and I ask you not to go looking for it again. If you ever do run across it, you will now be prepared. It does not do to dwell on dreams and forget to live, remember that. Now, why don't you put that admirable cloak back on and get off to bed.”
― J.K. Rowling, Harry Potter and the Sorcerer's Stone

“When a girl feels that she’s perfectly groomed and dressed she can forget that part of her. That’s charm”
― F. Scott Fitzgerald, The Short Stories

“Seduce yourself first.”
― Kamand Kojouri

“She lacks the indefinable charm of weakness. It is the feet of clay that make the gold of the image precious.”
― Oscar Wilde, The Picture of Dorian Gray

“A man cannot un-see the truth. He cannot willingly return to darkness or go blind once he has the gift of sight, anymore than he can be unborn.

We are the only species capable of self-reflection. The only species with the toxin of self-doubt written into our genetic code. Unequal to our gifts we build, we buy, we consume. We wrap ourselves in the illusion of material success. We cheat and deceive as we claw our way to the pinnacle of what we define as achievement; superiority to other men.

But there is a sickness inside us. Rising like the bile that leaves that bitter taste at the back of our throats. We do our best to deny its existence, dealing in lies and distraction. Until one day the body rebels against the mind and screams out… I am not a well man. Only when we know what ails us can we hope to find the cure.”
― Justin Haythe

“She was indeed a girl of exquisite beauty. She was one of those languid women made of dark honey, smooth and sweet and terribly sticky, who take control of a room with a syrupy gesture, a toss of the hair, a single slow whiplash of the eyes-and all the while remain as still as the center of a hurricane, apparently unaware of the force of gravity by which they irresistibly attract to themselves the yearnings and the souls of both men and women.”
― Patrick Süskind, Perfume: The Story of a Murderer

“When people enter into an experience of loneliness, they trigger what psychologists call hypervigilance for social threat, a phenomenon Weiss first postulated back in the 1970s. In this state, which is entered into unknowingly, the individual tends to experience the world in increasingly negative terms, and to both expect and remember instances of rudeness, rejection and abrasion, giving them greater weight and prominence than other, more benign or friendly interactions. This creates, of course, a vicious circle, in which the lonely person grows increasingly more isolated, suspicious and withdrawn. And because the hypervigilance hasn’t been consciously perceived, it’s by no means easy to recognise, let alone correct, the bias. What this means is that the lonelier a person gets, the less adept they become at navigating social currents. Loneliness grows around them, like mould or fur, a prophylactic that inhibits contact, no matter how badly contact is desired. Loneliness is accretive, extending and perpetuating itself. Once it becomes impacted, it is by no means easy to dislodge. This is why I was suddenly so hyper-alert to criticism, and why I felt so perpetually exposed, hunching in on myself even as I walked anonymously through the streets, my flip-flops slapping on the ground.”
― Olivia Laing, The Lonely City: Adventures in the Art of Being Alone

“Think of someone you want to touch whom you cannot touch, someone forbidden. Think of a room where there is nothing except the two of you: still, you cannot touch them. Think of the heat between two hands about to touch, the language that exists in that silence.”

from “A Simple Woman”
― Chelsea Hodson, Tonight I'm Someone Else: Essays

“Suffering feels religious if you do it right.”
― Chelsea Hodson, Tonight I'm Someone Else: Essays