“I have chosen two concepts to guide my thoughts and actions. They are stronger than the pressure of society, the constraints of morality, the need to procreate, desire for wealth, the promise of Heaven, or the threat of Hell. I live for love and pleasure, or nothing at all.”

“A pleasurable life balances health, wealth and love. Without health, it is hard to enjoy wealth or love. Without wealth, it's difficult to maintain health or focus attention on the ones we love. Without love, a long healthy life and endless riches are nothing more than an empty hollow prison. Excessive focus on any one aspect to the detriment of the other two robs us of a life worth living.”

“Remember who you are. When you encounter things you think you can’t deal with, remember all the things you have dealt with before. Remember all your triumphs and all the times you overcame defeat. Remember who you are and use that strength to raise your head high, win or lose”

“Always consider the source of your advice. Advice cannot be neutral, the source of advice is just as important as actual words.”

“Being single won’t make you happy. Dating someone won’t make you happy. Being married won’t make you happy. Being a parent won’t make you happy. Divorcing won’t make you happy. The only thing that can make you happy is your choice to be happy…”

“As one of the most pervasive forms of cultural narrative in industrialized societies, commercial film serves as an extremely powerful vehicle of myth… To some extent the scripts that do get picked up manage to be supported because they already articulate a culture’s social imaginary – the prevailing images a society needs to project about itself in order tomaintain certain features of its organization. This social imaginary is not simply encoded in a film or decoded by the viewer from the film’s formal structures. Rather, the mythicmeanings of films are the effect of a social and dynamic process of meaning-making in which their production and reception participate. Any film text comes to make sense by means of thehistorically available modes of intelligibility – a variety of assumptions about reality – through which the spectator chains together the film’s signifiers into a meaningful story.”

“Beautiful things are to come; they just need PATIENCE :)”