Sylvester Stallone Quotes
Born: July 6, 1946
I'm the Hiroshima of love.
If you make exercise your hobby instead of your enemy it becomes your friend, it's the one thing that will never let you down. It will always be there for you and it will always make you better than you were before. Remember: every time you go to the gym, every time you put the right supplement in your mouth, you're better than you were ten minutes ago. [...] The irony is most people know what to do, they just don't do what they know.
Don't discuss your dreams. Pursue them!
Study people's success stories hard. Study their failures even harder.
If it's not broken, break it. That's how new discoveries are made. That's why everything that changes life is called a breakthrough.
Real love is when you become selfless and you are more concerned about your mate's or children's egos than your own. You're now a giver instead of a taker.
Polo is like tennis - you literally have to live it.
I guess the best thing I do of all is ride. Horsemanship, I have a natural flair for it.
I watch a lot of news, and I watch musical shows because I think the music of the young people is really their news reports. They let you know how their country is going through their eyes, and about their experiences in the everyday shock of growing up.
Movies are a collective art. Art by proxy.
To be really artful, though, you have to be subjective and so singular.
Art is the ability to communicate through an intermediary and to convey one's feelings through an isolated object. It's inspiration and incubation. Putting my subjective feelings into an objective form and then on to you for a subjective interpretation.
I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.
Theater is like boxing - having the audience ringside. It's instant gratification. Or horrification.
Most of the films I myself like don't do very well. Every director, he has a choice, whether to go for subtlety and try to articulate every minute detail, or to go for the broad strokes and hope that the people will fill in between the lines. I tend to go for the broader strokes.
It's great the way the old-time directors used to manipulate the hell out of you. You see someone dying and all of a sudden a ghost would come out and they go walking hand in hand up the stairway.
I think there's something about being a neophyte that's refreshing and hard to duplicate, it brings about real innovation. Innovation usually comes about through blind ignorance.
Often people going into directing want to learn as much as they possibly can about 'technique.' And I say the hell with that.
No one's life is totally morbid. Even on a subtle scale there's little flashes of enlightenment and of happiness and joy.
Lighting can bring out certain contours in the body, in the face, in the eyes, that otherwise flat lighting couldn't.