Quotes of All Topics . Occasions . Authors
You know you've made it when you've been moulded in miniature plastic. But you know what children do with Barbie dolls - it's a bit scary, actually.
Fine-tuning a play like 'Uncle Vanya,' which is already well-known to the people playing it, is not so much a verbal exercise as it is a visceral one.
The Oscar is very beautiful, utterly mesmeric, but I don't feel any more important because I have won one. It doesn't mean I'm any better than anyone.
As an actor I suppose you're constantly observing. I don't sit in restaurants making notes, I don't live my life in order to then feed it into my work.
It's important to travel and move and have a continual set of experiences so you've got more to feed back into your work. For me, it's a natural thing.
You will not leave the theater with nothing to talk about. For me, comedy and tragedy when you get them both in one evening, that's the most satisfying.
Louise Frogley is a brilliant designer. I always find her wardrobe fittings really informative and creative. Together, you kick images and ideas around.
I look at someone's face and I see the work before I see the person. I personally don't think people look better when they do it; they just look different.
Being in Australia, I was really sun conscious. For a couple of summers there, I did the baby oil thing, and my my mom said, 'Just don't. You'll regret it.'
My husband went through a phase of giving me vacuum cleaners, sewing machines and Mixmasters. It's ironic. He is encouraging me to develop a hobby, I think.
I'm not a big believer in linear paths. I would always have these sort of five-year plans and think, 'Ok, I wouldn't mind to try to get here in five years.'
Before having children, I think I probably approached work very differently, and you become much more economical and pragmatic about your relationship to it.
His [Gough Whitlam's] effect on the geo-cultural-political map of Australia is so vast that wherever you stick the pin in you get a wealth of Gough's legacy.
I don't like to reduce a role to fit me. The challenge to me is to expand to it. Sometimes it works, and sometimes it doesn't. But that's the challenge of it.
At the moment there are 1 in 8 people who have no access to clear drinking water, about a billion people worldwide, which can make you feel quite overwhelmed.
I think when you fall in love, whether you're heterosexual, transgender, gay, lesbian, whatever, straight, you feel like it's happening to you for the first time.
Art civilizes us and it connects us and activates us. And so it's really important to connect with compassion, with stories about people who are different from us.
Absolutely, I think that is where a scent is so powerful because it harnesses our memory and our memory is a very emotional place. I do like the smell of excitement.
I think when I was pregnant with my first child - he's about 10 or 11 now - I first noticed changes in my skin, which can make you panic a bit. I had a bit of melasma.
I much prefer a natural approach to beauty. You know, Coco Chanel always said to take one thing off before you leave the house, and I think that also applies to makeup.
I was quite shocked at the tone I took and the judgements I had of the relationship that she embarked on, you know, sex with a minor. But it's the stuff of great drama.
A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.
I tend to use really basic creams, and I like to put an oil on, like an emu oil from Australia. It's from the emu, and it's really nourishing. I prefer an oil to a cream.
When anyone plays a mother on film, there is a whole raft of judgment in that a mother is a particular archetype or that every mother is the same. That's complete rubbish.
What you're trying to do as an actor is somehow trick yourself into believing that these words have never been said, and so you've got to discover them for the first time.
I think there is a long exploration in American drama of women in particular who, by force of circumstances or because they are predisposed to, choose fantasy over reality.
You're always more critical of your own country. People will talk about stuff in Britain, and I'll go: 'Aw, it's not that bad,' but at home, it's different. It's inside you.
You do not want to be in a creative organisation with everybody being like-minded and stroking each other's creative egos. You want differences of opinion... constructively.
I live my life parallel with my work, and they are both equally important. I'm always amazed how much people talk about celebrity and fame. I don't understand the attraction.
People had always vaguely mentioned that when you have children, how part of your life would stop. But they don't say that some other extraordinary part of your life opens up.
The thing I love about live performance the most, is that the doors are closed, the lights are turned down, and the audience has to be reverential to what's happening onstage.
I love 'Annie Hall,' but then I adore 'Hannah and Her Sisters.' Dianne Wiest is amazing in 'Bullets Over Broadway,' but her in 'Hannah and Her Sisters,' I absolutely loved it.
I certainly think that when I flick through all the magazines at the hairdresser's I like to see and am drawn to images that have an intelligence and mind at work behind them.
I don't think about being beautiful or not being beautiful. ... It's more about feeling confident inside your own skin really and thinking about yourself as little as possible.
Playing the lead in a film where you shoot for three months away from home is not an easy thing for me when my children are in school and my husband is running a theatre company.
I'm not interested in playing characters who see the world through my prism. I think the journey of understanding any character is to see how they tick and how they differ from you.
It's not the normal way to look at things but I experienced death at a really young age and because of that it's been part of my mental landscape that death is really very possible.
I always dressed as a man when I was at school. I loved wearing a tie and a shirt, and I was always wearing suits. Annie Lennox was my hero. I was always playing men in high school.
I'm not interested in playing characters who see the world through my prism; I think the journey of understanding any character is to see how they tick and how they differ from you.
I've known the panic of financial struggle. I didn't grow up with money at all, and my family has certainly known the panic of, 'Oh, gosh, where's the next bit of money coming from?'
The lack of racial diversity and gender diversity and the lack of female directors - those are not fashionable issues. And they're not issues that reside solely within the film industry.
No one wants to see me struggling to get a horse under control because I can't ride it. And no one wants to see me not knowing how to deal with the psychological makeup of the character.
I never feel particularly comfortable holding a gun, but when you're playing somebody who lived in the frontier southwest, guns are a part of their life. Anyone who lives on land has a gun.
I discovered early on that some performers live their life in order to act, so all their relationships are simply an experience that they can feed back into their work. Which I find vampiric.
If I had my way, if I was lucky enough, if I could be on the brink my entire life - that great sense of expectation and excitement without the disappointment - that would be the perfect state.
Theater is a space where you cross over from everyday life, because there are real people in that moment moving in front of you-you're being invited to believe in a story and cross that bridge.
If you age with somebody, you go through so many roles - you're lovers, friends, enemies, colleagues, strangers; you're brother and sister. That's what intimacy is, if you're with your soulmate.
I don't think it's more difficult for actors to have a good marriage than anyone. I think, in the end, a really important component of any relationship is honesty, and it also comes down to luck.
Theater is a space where you cross over from everyday life, because there are real people in that moment moving in front of you - you're being invited to believe in a story and cross that bridge.
I'm not particularly needy, and I'm not particularly anxious. I don't look for a director to tell me I'm doing a good job or that I'm great. I don't need to be stroked. It's more my own yardstick.