quote by Camila Cabello

I'm listening to a lot of John Mayer again. I stopped listening to emotional music because I was in a really emotional place in my life.

— Camila Cabello

Vibrant Mayer quotations

Many people are target people. Once when Louis B. Mayer insulted me I poured a glass of water over his head.

I was born at the age of twelve on a Metro-Goldwyn-Mayer lot.

Things have changed a great deal since the days of Mr.

Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be.

I didn't get the degree because in my last year, for my thesis film I made a feature called Permanent Vacation and they'd given me a scholarship, the Louis B Mayer fellowship and they made a mistake.


I remember when I first walked into Mayer's cavernous office.

You had to walk 50 yards to get to him, and in that time he could really study everything about you.

In England when you make a movie even the weather is against you.

In Hollywood the weatherman gets a shooting schedule from all the major studios and then figures out where he can fit in a little rain without upsetting Metro-Goldwyn-Mayer too much.

Louis B. Mayer came out west with $28.00, a box camera and an old lion. He built a monument to himself -- the Bank of America.

I love collecting guitars, even though I can't play well.

My favourite guitarists are Richie Blackmore, Jimmy Paige, and John Mayer.

Box-office poison? Mr. Louis B. Mayer always asserted that the studio had built Stage 22, Stage 24 and the Irving Thalberg Building, brick by brick, from the income on my pictures.


Louis B. Mayer once looked at me and said, 'You will never get the girl at the end'. So I worked on my acting.

I remember Mr. Mayer very well. He sort of liked to be the father - no, he liked to be treated like you thought he was Daddy, but he didn't treat you like Daddy at all.

The Maria Mayer shell model suggestion in 1949 was a great triumph and fitted my belief that a nuclear shell model should represent a proper approach to understanding nuclear structure.

I think my all time favourite song would be between 'Slow Dancing in a Burning Room' and 'Dreaming with a Broken Heart' by John Mayer.

John Mayer would be my ultimate collaboration because he's just the man.

He has basically captured all I believe in with music.


But, I've always loved John Mayer and I think T-Pain is brilliant.

I listen to John Mayer when I get ready. He's my calmer.

The heads of the studios, like Louis B.

Mayer, didn't want to create any more musical stars. So Bobby [Fosse] left and went to New York City to be a choreographer, and created brilliant work.

We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.

There's a fantastic, thousand-page book by David Thomson about [David O.

Selznick]. Again, it's not the best argument or the best advertisement for his story, because most people aren't going to read a thousand-page book. But I feel like the rise and fall and the work [Mayer] produced - not just the movies, but the memos, the volume of writing - he's just so passionate, and that's really exciting.


My idols were Michael Jackson and The Beatles and I would watch Justin Timberlake and John Mayer perform and I knew I wanted to do what they were doing!

I'm a huge Peter Mayer fan, but only when I don't feel like killing him for being so good. I love Peter's work, though it irritates me that he plays so much better than I do. If I rocked half as hard as Peter does, I'd own the world by now.

Louis B. Mayer and I got along like a house afire. He never chased me around his desk or tried anything with me. Of course, he never gave me any good parts, either.

I grew up in the '80s and '90s listening to Public Enemy and Mobb Deep and the Smashing Pumpkins. I don't even know what it was like in the '60s - I wasn't alive then - so the Mayer Hawthorne sound is taking what I can learn from the classics, and blending it with my hip-hop DJ and producer background and punk-rock bands that I played in as a kid.

Mayer Hawthorne's old school pop-R&B homages are so meticulous that it's tempting to overrate his pipes.


Beachy Head brims with electrical currents flying backwards and forwards, with the force of poems that have been well fought out and felt. I hear the currents of Alice Notley, of Bernadette Mayer, of Eileen Myles, and Sylvia Plath

I got a job at Metro and went in to see Louis Mayer, who told me he wanted me to be a producer. I said I wanted to write and direct. He said, "No, you have to produce first, you have to crawl before you can walk." Which is as good a definition of producing as I ever heard.

It's just like John Mayer says in "Slow Dancing in a Burning Room".

When it's this bad, you have to get out or you'll get burned.

But this is such a "Wheel" moment. That song rocks. The best part is where John Mayer says how our connections are permanent, how if you drift apart from someone there's always a chance you can be part of their life again. How everything comes back around again.

I have a theory that the answers to all of life's major questions can found in a John Mayer song.


I adore John Mayer. I don't see how anything that surrounds John could be negative.