Eva Zeisel Quotes

L.A. was just an inspiring kind of place to be. It felt like going to Paris in the Twenties and Thirties. Everybody's there. Everybody's hanging around. Everybody's talking about music.

'Vanity Fair' caught me at a very exciting time in my life filled with night clubs, international fashion shows, celebrities and lots of cash to go around. Sometimes things just fall into place. 'Vanity Fair' was one of those things.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

I'm going to continue doing what I want to do. And if it means I want to go and make a big movie, if it has something to say, I will want to make it. I don't want to spend my life wasting my time. If it's a big movie, I want to do it. If it's a small movie, I want to do it.

There is nothing in my life where I view myself as a 1920s person.

I have spent a great deal of my time defending my work against those who see it as too complicated, too old in approach, too bleak to qualify as children's literature. This has been the bane of my life.

I'm putting on a suit and tie when I go see The Great Gatsby.

By the time I was 23 or 24 and had written the first manuscript of 'The Final Winter', I knew I wanted to make it a career but didn't know how. It took me a long time to grow into myself, but when my love of writing returned, it did so with an enormous amount of venom. It is now a mainstay in my life.

If I had to reflect on the finest classical male ballet dancers of my time, Vladimir Vasiliev of the Bolshoi and the Danish dancer Eric Bruhn were, I feel, without peer.

As long as possible, I would really like to complete one marathon per year. Though my time has been slowing down as I get older, it has become a very important part of my life.

I didn't live at school, I lived where I could and studied what I enjoyed studying. I took what I wanted from that education but was making my first record at the same time. I don't know anyone from school. I was just leading a different life. I was really interested in writing and other things.

The '20s are a very interesting period to me.

I don't want to do something unproductive with my time, so I decided to do something musical. So it felt good to say, 'Yeah, I'm producing.' It gave me a fresh vibe - inspiring in a different way.

There's nothing more fun than putting on an old costume and jewelry and being in a house that's decorated from the '20s or '30s or whatever.

I really do not see why there is not a splendid field for good work on the music hall stage, and if I did not have my own theatre taking up my time, I should rather like to go into it.

But again, I put in my time with Marvel and DC so there was that period of my life of trying to learn how to draw and tell stories in a proper fashion.

I used to work at NASA in Virginia. It was nothing glamorous; I was just tasked with making code compile for obscure projects, and I wasn't very good at it. Now I spend most of my time drawing pictures and looking at funny things on the Internet, which in retrospect is largely what I did at my old job, too.

With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I'm teeming with the drive to write.

When I first started coming to New York in the early Nineties and seeing the vitality of the programme compared to what was going on back in London or Paris, it was just in a different league. It's like a 16th-century court.

I'm glad I was born when I was. My time was the golden age of variety. If I were starting out again now, maybe things would happen for me, but it certainly would not be on a variety show with 28 musicians, 12 dancers, two major guest stars, 50 costumes a week by Bob Mackie. The networks just wouldn't spend the money today.

Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.

Given New York City's cultural diversity, it has always attracted creative people.

I didn't really even think of recording under my own name for a long time. I thought, 'I've got the rest of my life to do that.'

A lot of my time was spent searching, thinking and planning my life.

To this day, people are still talking about the Coral Casino's parties of the '30s, '40s, '50s - complete with antidotes of Errol Flynn's swan dives, Marlon Brando's secret cigar smoking spots, and Ester Williams' Aquacades.