"The premieres are, kind of exciting, especially to Ella, who loves limousines"
About this Quote
Premieres, in Kelly Preston's telling, aren't really about the film. They're about the little rituals that turn work into an event, and she undercuts the usual red-carpet grandeur by narrowing the excitement to one wonderfully specific detail: a kid who "loves limousines". It's a disarming move. Instead of selling us the myth of celebrity, she domesticates it. The biggest thrill in the room isn't critics, cameras, or even the applause; it's a backseat, tinted windows, and the novelty of being chauffeured like a cartoon rich person.
The phrase "kind of exciting" does a lot of quiet work. It signals a practiced nonchalance, the tone of someone who's been to enough premieres to know they're equal parts celebration and obligation. Preston is gently admitting the jadedness that comes with the job while borrowing her child's unfiltered enthusiasm as a way back into wonder. Ella becomes the audience surrogate: untouched by industry politics, genuinely delighted by the spectacle's most tangible perk.
There's also a sly comment on what fame actually offers. Not meaning, not permanence, but access - to limos, to velvet ropes, to a brief sense of being carried. By focusing on transportation, she hints at celebrity as movement through space: you get ushered, protected, delivered. It's funny because it's true, and it's human because the excitement is secondhand, filtered through parenting. Preston frames the premiere as family entertainment, a reminder that behind the public image is someone negotiating normal life in abnormal settings.
The phrase "kind of exciting" does a lot of quiet work. It signals a practiced nonchalance, the tone of someone who's been to enough premieres to know they're equal parts celebration and obligation. Preston is gently admitting the jadedness that comes with the job while borrowing her child's unfiltered enthusiasm as a way back into wonder. Ella becomes the audience surrogate: untouched by industry politics, genuinely delighted by the spectacle's most tangible perk.
There's also a sly comment on what fame actually offers. Not meaning, not permanence, but access - to limos, to velvet ropes, to a brief sense of being carried. By focusing on transportation, she hints at celebrity as movement through space: you get ushered, protected, delivered. It's funny because it's true, and it's human because the excitement is secondhand, filtered through parenting. Preston frames the premiere as family entertainment, a reminder that behind the public image is someone negotiating normal life in abnormal settings.
Quote Details
| Topic | Excitement |
|---|---|
| Source | Help us find the source |
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