Romantic Orientalism was fascinated by the color and excitement of a powerful culture, and nearly always approached its subject with love.

Americans have always been excellent at making romantic comedies - but dramatically, we don't really try to do it.

I am a hopeless romantic who falls in lust and gets in trouble. I love my work and am very productive, yet I always find time to play.

I'd always thought hurricanes were romantic, with pretty feminine names like Celestine.

With female-oriented movies, unless it's something like 'Bridesmaids' or a romantic comedy, you've got to really worry about your opening weekend. And I'm always telling stories about women, not younger women, and it's just a much tougher audience to get to the movie theater.

I've always loved the '40s romantic comedies and the idea of those mistaken identities and lovers' misunderstandings.

I always wanted to be a teacher. I went to school to be a teacher. And I've always, you know, had this sort of romantic idea about it. But I'm worried about - I'm worried about education.

America to me is so varied and exciting. I always feel nostalgia for the place I'm not in, and then I get there and find myself in a traffic jam going into the Lincoln Tunnel, and I think, 'God, why was I romanticizing this part of the country?' I think it has to do with the romantic, unrealistic temperament.

I think there are certain tenets set in place for all different types on genres. For thrillers, women usually die first. I can't say exactly why, and it's kind of a bummer... But I also can't explain why the wallflower girl in the romantic comedy always gets the guy in the end. That's just the way those movies go.

I've actually always wanted to write like a one-person show that was sort of a romantic comedy - a show that was kind of cynical about romance and marriage but ultimately embraced it. Because I feel like comedy is always cynical, inherently, because it's contrarian.

I'm a complete romantic - it's why I always get married. Someone should really stop me.

I grew up in southeastern Oklahoma on a working cattle ranch, and it was always very romantic to me: The West, the cowboy, the Western way of life.

I would pretend to be the French lieutenant's woman. I was always a romantic. I still am, actually.

I think we've always been fascinated with the idea of the romantic outlaw. John Gotti could be in one instance a charismatic, kind and loving family man, and in another, deadly to his enemies. The opportunity to tell the true story of Gotti with John Travolta is a director's dream.

I've always maintained that men were more romantic than women.

Despite not looking like a matinee idol, I feel like I have a lot to give. I've never had any trouble with women. People are always surprised with the romantic aspect of my movies.

You think, 'Musicals, they must always be romantic' - You'd be surprised how few of them historically have ever been romantic.

The office is a romantic enabler because you're always around the person you have a crush on. There's no escape from, and maybe no desire to escape from, those pressure-cooker conditions. And there's an automatic series of things you have to talk about all the time.

I always thought 'chick lit' meant third-person contemporary funny novels, dealing with issues of the day. I mean, it's not the ideal term; when I'm asked to describe what I do, I say I write romantic comedies, cause that's what I feel they are. But I'm quite pragmatic.

I love Billy Wilder, and I love the way that his films can be very touching and very moving and very romantic, and at the same time there's always a little cynical undertone, there's always something that undercuts things.

I've always been attracted to romantic secondhand clothes. But my style developed as I started going to these strange raves where everybody had these very definitive costumes.

Cooking is always very romantic!

Although some people think I am a romantic novelist I have always thought of myself as a rather gritty radical historian.

It took me twenty years to get Steven Parrino's work. From the time I first saw his art, in the mid-eighties, I almost always dismissed it as mannered, Romantic, formulaic, conceptualist-formalist heavy-metal boy-art abstraction.