Quotes of All Topics . Occasions . Authors
When you have an actor on set who is playing themselves in a movie that is about the most cathartic, most traumatizing event of their lives, you don't even have to mention that.
The happiest person in the world has struggled. And none of us are perfect. And people can judge. There's so much judgment going on. And I just don't think that's what God's about.
My nucleus of friends or something protects me from the machinery that is Hollywood. I don't think I'm on the same quest that a lot of people are. I guess that could be a limitation.
To me, being creative is a very fragile thing. The environment in which one can create is a very particular one, and somehow, I've always felt the need to be very protective of that.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
A play is a hard thing, particularly in L.A. It's less expensive than in New York, but there's also less of a commitment to people doing plays than in New York. So it's a strange battle.
In my career, I've never been a box office name. Granted, a couple of my movies have made a lot of money, but I'd do other movies which make very little money, or they're not seen that much.
I've always had to move between a couple of years of unemployment, where offers are not provocative enough to take, and seasons where I work nonstop for a year. It's always been an erratic rhythm.
What's great about cable is that the ceiling of expectation is lowered because fewer people have to tune in for it to be a success. You don't need 23 million people a week like you do in broadcast.
I got a horror film, 'The Burning,' and suddenly I was making crazy money, like a thousand a week, so I moved into an apartment on Amsterdam with a guy who was also in 'The Burning,' Jason Alexander.
In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.
I don't make decisions just on the character I'm supposed to play. Sometimes it's based on the director, sometimes it's based on the story, sometimes I need money, or sometimes I'm just starved to work.
I am often offered roles or women who are very strong, uncompromising. But it's fun to do 'Manglehorn,' where I'm playing somebody who's very open, very optimistic, very positive. I don't want to bore myself.
I don't offer advice to actors only because I've seen actors become successful through ways that would never even occur to me or that wouldn't work for me. But this has worked for me: Never memorizing a scene.
I can very much enjoy taking a year off. Whereas some people would feel crippled by that, I can feel enlarged by it. And then I also like to work nonstop, maybe for a year-and-a-half, and then take a year off.
Mothers and daughters can stay very connected during teenage years. In the middle of your life, you can become very alone. Even though you're connected deeply to other family members, lovers, husbands, friends.
I found acting when I was 14, when I got cast in the chorus in a high school play, 'The Boyfriend.' In my high school, we did mainly musicals, so I just started doing nothing but musicals for years and loved it.
It's considered a coup to become a lead on a kind of cutting-edge television series. I mean, that's a plus for your feature film career and for your career in general. There are no walls anymore between the two.
Real quality in roles is very hard to come by. Any actor or actress will tell you that. Great movies are hard to come by. It's almost impossible to make one, and most people have to settle for making something less.
I had such total, unequivocal, enthusiastic encouragement to be an actress. Looking back, I really find that to be a total mystery. Don't ask me why. My father was just in love with the idea that I would be an actress.
I object to the actual phrase 'Follow me.' You've gotta be kidding! Why would I want to follow anybody else? Nor do I want them to follow me. The machinations of my life, the banalities - they're mine. They belong to me.
Sometimes it's the lead, but there are not always leads out there, so then it's an interesting supporting character, or there's a lot of dough, although that happens less and less. Let's have a good laugh about that one.
With 'Broadcast News,' it became a non-issue, and with 'The Piano,' it became a non-issue. Both parts were written for more statuesque women. It was nice to change people's minds about that, because that's neither here nor there.
I love fiction, you know? I find it fascinating. So when film really does go into fictional places, that's the most exciting for me. And when the fiction is about the person rather than about the place, that's even more exciting.
I believe that there is good. I believe there is evil. Do I believe that they come from God who is watching us conduct myriad never-ending wars and looks benignly on because there's higher purpose to all of this? I don't think so.
I've moved laterally, as opposed to vertically. I was never a superstar. I've always had to move between a couple of years of unemployment, where offers are not provocative enough to take, and seasons where I work nonstop for a year.
When you spend many hours a week working with the same people - I mean television operates on really amazing hours and the gift of that is the trust that you feel and the intimacy that you feel with the people who you're working with.
I'm almost 60. I've been doing this for a while. In order to do this for that long, you have to make decisions based on lots and lots of different criteria, you know. I mean, the criteria has to shift, especially if you're an actress.
Crazy people are my people? Really? I think that's silly. That's another one of those pigeonhole things. Lay somebody on an ironing board and put a scalding hot iron on them, get that going real good: 'Oh, this is who Holly Hunter is.'
I don't want to cancel the South out in my life. I carry my Southernness with me. God knows, it's a great place to come from. It's also a place I had to get away from. It is just an endless world for me, so much culture and eccentricity.
There were so many lead roles available when I was in my thirties. Once I hit 45, there was a real downturn. But I got an incredibly provocative, delicious lead role in a television series called 'Saving Grace,' and I loved the character.
Do I trust myself? Sometimes I don't even know, but I can only just kind of throw my hat in the ring and hope for the best. Depending on how much I trust the other people is how much freedom I can allow myself to have on that particular set.
I think it's really odd, too, that the public is so privy to how much money the actors make and what movies cost. It seems to me to be beside the point. When I go to a movie I really don't want to think about the money. I want to see the story.
It's the same with people knowing absolutely everything there is to know about an actor. I actually think the more personal information you have about an actor, the more you have to carve out for yourself when you go to a movie and see them in it
I started doing repertory theatre in upstate New York when I was 15, went back when I was 16, and by that time decided that I really wanted to study drama seriously and go to an acting conservatory called Carnegie-Mellon University in Pittsburgh.
Is there a higher energy? I would say yes, even if the energy is collective. Even if it's kind of Jungian, or the whole thing is collective consciousness, that may be God as far as I'm concerned. So is there an energy that's higher than mine? Yes.
It's the same with people knowing absolutely everything there is to know about an actor. I actually think the more personal information you have about an actor, the more you have to carve out for yourself when you go to a movie and see them in it.
Being somebody who's like a theater geek that I am, I can just go right back to Aeschylus and Euripides and Sophocles: they were writing about gods and goddesses versus humans, and how gods could distort, pervert, or help people get what they want.
I love to look at physically beautiful people, and obviously others do, too. But there's such a narrow definition of what that is; the people who are my friends in life, the more I get to know them over the years, the more beautiful they are to me.
In some ways, it would be nice to stay younger, but I feel pretty happy about growing older... Personally, I don't have a lot of the regular hand-ups with getting older that some people do. I've never tried to disguise my age. People find out anyway.
'Top Of The Lake' is a great story with a beginning, and a middle and an end, about darkness - it's like the heart of darkness. And everybody has got one. When I was reading it, I couldn't put it down, and I wanted to know what was going to happen next.
Sometimes I take a movie that I know is not great; it's not great on the page, but I need to work. Sometimes I need to make the money. I need dough. I want to work, and so I'll take something that is compromised in some arena. But it's like, actors gotta act.
In storytelling you kind of put your nightmares up there, you put your dreams up there and people can see them better because they can stand outside of it and look at it and recognize themselves inside it. So I feel that that in and of itself is a spiritual thing.
I'm a practicing Catholic. And faith is very, very important to me. It was pounded in my head as a kid, and I hated it. And I sort of lost my way in my 20s and part of my 30s and then found my way back. And I don't know what I'd do without it. It's huge in my life.
In many parts, I start from the outside and then it triggers things within. For 'The Piano,' I went, 'I'm going to learn these piano pieces. I'm going to learn this sign language, and I'm going to do them all day every day, five days a week.' It was a totally physical thing.
The unknown makes people uncomfortable. And even living in a city that's as cosmopolitan as New York City is, there's so many things I don't know about other cultures, even though I encounter other cultures - maybe even 18 or 19 of them - when I get on a subway car every day.
For every movie that you go see, how many leading male roles are there in any given movie, and how many leading female roles are there? There may be 5 or 6 really good roles for guys and maybe one for a woman. And it doesn't even matter if you're 25. That's just the logistics.
There's no way that anyone can know the ebb and flow of one's career. You can't know that. You can tell young actors it's going to be very difficult, but there's no way you can understand the difficulties and the rewards through description. You have to cellularly experience it.
Often, in the movie business, they need somebody who will garner box office because they need to pay for the movie. So the people who are in movies that make a lot of money are the people who most often get cast in studio pictures. In my career, I've never been a box office name.
I moved to New York in 1980, and I met Beth Henley, who's a marvellous playwright and who I have a real personal and professional association with, in 1982. I met her in a stalled elevator - we were the only two people in there - and she's been one of my very dearest friends since.