Quotes of All Topics . Occasions . Authors
I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
I worked on my voice for 'Sweet Dreams' but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
I've worked with some teachers and coaches over the years, but I didn't really study theater or technique or voice or any of that stuff extensively.
Allow the diversity to exist. There is nothing wrong with it. Hell, we put up with the religious right-we can put up with transgendered human beings.
I could be making a lot more money now if I had chosen a different kind of movie, but none of that matters to me... I've done the parts I wanted to do.
To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
It comes down to something really simple: Can I visualize myself playing those scenes? If that happens, then I know that I will probably end up doing it.
In families there is always the mythology. My father died when my kids were quite young still, and yet they still tell his stories. That is how a person lives on.
I take a jazz class and I also take just a regular exercise class with a man who gives me acupressure treatments. It's just stretching and elongating the muscles.
I had a big family - two older sisters and a younger brother. My family was like moving around a lot so I lived in a lot of small towns. My father was very restless.
I had never done Shakespeare before, but I don't think you can be an actor and not do it. There were moments when I thought, I'm just not going to be able to pull this off.
The natural state of motherhood is unselfishness. When you become a mother, you are no longer the center of your own universe. You relinquish that position to your children.
When you think about it there's never really been a realistic exposition of Hollywood, I mean - from the inside - showing Hollywood what it can do, what it has done, to people.
If I didn't have children I'd be a much better actress. I wouldn't be so distracted. I could pour 100 percent of my energies into it, to promote the investigation which acting is.
Sometimes the odds are against you-the director doesn't know what the hell he's doing, or something falls apart in the production, or you're working with an actor who's just unbearable.
There can be no better measure of our governance than the way we treat our children, and no greater failing on our part than to allow them to be subjected to violence, abuse or exploitation.
It took Sydney Pollack a long time to get me to do Tootsie. I asked myself if I wanted to play some frothy, ditzy character after I had just done Frances. Obviously, I'm thrilled that I did.
Successful model? That's a myth. The year I modeled was the most painful year of my life. Editors would always talk to you in the third person as though you were merely a piece of merchandise.
Box office success has never meant anything. I couldn't get a film made if I paid for it myself. So I'm not 'box office' and never have been, and that's never entered into my kind of mind set.
The thing with psychoanalysis is I know basically what happened in my childhood. I know where things went wrong and I know what my mother said at one point and what my father said at one point.
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's like imagery there. That always stuns me.
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's, like, imagery there. That always stuns me.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
My one big regret was that there were no scenes that I could play with Eva Marie Saint. I hounded them. I said figure out some way, I just want to play a scene with this woman. But there was no way to make it work.
Your children are grown and your career has slowed down - all the stuff that took up so much attention is gone, and you're left with expansive time and space. You have to reimagine who you are and what life is about.
American Horror Story re-energized me; it re-energized my career. There’s no shame in recognizing that. It’s exposed me to a whole new generation, which is a little strange. I’m not used to young people thinking I’m cool.
...we must remain hopeful that for our children and our children's children, that we are not a warring nation, but we will embrace and practice true compassion and honor the ideals of peace and freedom, and we will not give up.
The only place I've felt was really my home is my cabin up north. There's something in the water there that connects me to that place. There's also this sense of isolation and loneliness about it that I've never been able to shake.
Because Shakespeare's language is so expansive, we're under this misconception that it's difficult. But I discovered that it's easy because it's so brilliantly written. The words are perfect, and the language is intelligent and very emotional.
For me, acting was always a way to explore emotions - to dip into the well and really try to reach rock bottom down there. That was the most exciting part of it. I hadn't found anything that really allowed me to do that until I came upon acting.
Once I started on 'Frances' I discovered it was literally a bottomless well. It devastated me to maintain that for eighteen weeks, to be immersed in this state of rage for twelve to eighteen hours a day. It spilled all over, into other areas of my life.
What I love about photography, and it's the same thing I love about acting, really, is that it forces you, like, right into the moment, where you can't be distracted, where you can't be, like, thinking about other things or ahead of yourself or behind yourself.
Be present. I would encourage you with all my heart just to be present. Be present and open to the moment that is unfolding before you. Because, ultimately, your life is made up of moments. So don't miss them by being lost in the past or anticipating the future.
I never shot on sets, but if I was traveling somewhere or on location, I would always have my camera, and I'd always be - it's that kind of fly on the wall approach to photography, though. I don't engage the subject. I like to sneak around, skulk about in the dark.
I am coming to the end of acting. I have a list: another stage production, maybe one or two more movies, one more season of American Horror Story. . . and then that is it for me. Because I think that's enough. I want to go out with a bang. . . or should I say, a scare?
So much of my sense of who I am is tied to mothering. When they left home, I fell into a huge, empty, black hole. Your children are grown and your career has slowed down - all the stuff that took up so much attention is gone, and you're left with expansive time and space.
There was a period of time when I was very political, when I was at the university. It was like the late '60s, early '70s and I was a dissident like everybody else I guess. Now I follow it but there's nothing that really grabs me. The most fascinating thing to me right now is China.
As an actor, you have to have trust and believe that somebody is taking care of you or watching your back. With a part like this, especially with where we're going with it, I can't pull any punches. I can't do it halfway, especially when you're dealing with madness and this descent into madness.
I went to the University of Minnesota to study art. I left the university to come to New York and live in Soho. I got involved with like a small kind of like experimental theater-mime company and we discovered that Étienne Decroux, a great mime, was still teaching in Paris so I went to study with him for several years.
What can I say? I hate Bush; I despise him and his entire administration, everything he represents and everything he has tried to do, not only internationally, which is horrific, but domestically as well. In my country the atmosphere is poisoned. Unbreathable for those of us who are not on the right. So thank you for inviting me to this festival and allowing me to leave there for a few days.
That's always been like a fascination to me - watching my family, three sisters and a brother and all growing up basically in the same situation and each one being so totally different and going on to completely different areas and directions. But for me to go into psychoanalysis really steadily, would be putting too much energy into trying to figure out why I am the way I am... Basically this is how I am and it's alright and I don't want to know why I'm this way.
Usually, you get a script and you have the whole story. All the acts are there, for a play. You know what happens in the first, second and third acts, and you know how it starts, where you go and where it finishes. [With American Horror Story: Asylum], it's a whole new experience. I don't know where it's going, and I don't know what's going to happen next. It's been an interesting way to work. It's made me work in a much more fluid, braver way, just taking every chance that comes along.