The editors and the creators of 'The Bachelor' and 'The Bachelorette,' they are so good at casting and at finding these young, beautiful lunatics to go on the show.
For never was a story of more woe than this of Juliet and her Romeo.
After drama school I did a seven-month tour of Europe performing in 'Romeo and Juliet.' I played Romeo.
Of all forms of caution, caution in love is perhaps the most fatal to true happiness.
San Suu's story will always involve politics, but the essence is the love story.
I'd like to do an action film, a full-on comedy film, family dramas and a soulful romantic film.
Romantic films are not a genre I would choose.
I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.
The film is a romance with songs and dances, aimed at a family audience.
A good love story always keeps the pot boiling.
I would like a boyfriend. I'm a very happy person and it is the final, final piece of the puzzle. I'm looking for that shout-it-out-from-the-mountaintops, fall-in-love person.
The biggest high for me was to marry Rajesh Khanna. That was a high, and I don't think my success was as much of a high as getting married to this superstar. I used to be a big fan of his; it was dream come true.
'The Lucky One' is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling. Readers don't read his books because they're true, but because they ought to be true.
The story of a passionate woman in a stale marriage is as old as Helen of Troy.
Romance novels are my favorite books to read. I write young adult romances, and am so happy to be promoting this wonderful genre.
I come from a service family - I met my husband Dave during my third tour in Iraq serving as a CIA analyst alongside the military.
For reasons which I can't logically explain, in all of the films I've done, I've ended up doing love stories of one kind or another, and it seems to me that love stories are extremely dependent on the obstacles you can place between the lovers. There is no love story without it.
'Casebook' is my attempt at a love story. I had a vision of a difficult love.
No matter how it started, I grew up with a great American love story. Two parents who didn't fight, enjoyed having parties and being together, and it was a great way to grow up.
'Mausam' is about seasons of love and not exactly about the weather.
I never talked about homosexuality with my family. After I was 18, they know everything, but I never talk; it was like an information but in silence. I start to talk when I was 32, it was good for me - it was like a liberation. I'm talking about a love story. I'm not talking about sex because love is love.
One of the pillars of 'Cyrano' is recreating a love story and, like any archetype, these great stories tend to be captivating, among other things, because they are made of those universal things that move us.
I resist the idea of there being on-screen chemistry. I think it's something that people like to say without thinking.
I think great romance needs great obstacles and textures.
The love story for me was the nature of the love and not the age of the lovers.
