Quotes of All Topics . Occasions . Authors
Eat to fuel your body, not to stuff your feelings.
I had a couple of producer sessions where I would walk in the room, and the producer would just look at his phone. That's heartbreaking because it's so disrespectful.
Musicals are not something I have had vigorous training in. But it's definitely something that I want to do. I don't like to be afraid of anything. I don't want to feel like there's something that I can't do.
I have a chef come in every day and prepare my meals. There is no way I could do the stunt work, stay up as late as I have to, or be outside in the heat if I'm eating poorly. That means I can't eat craft services!
When I was in high school, they opened an arts high school. I didn't read music, and I wasn't a trained dancer, so I was like, 'OK, I guess I'll go into acting.' I asked my mom if she knew any plays for my audition, and the only one she knew was 'A Raisin in the Sun.'
I generally work out every day. If I'm at work, between takes I'll do push-ups and an ab routine. I'm there for anywhere from 10 to 16 hours a day, so sometimes I can't work out at my house. I will do sit-ups on the stairs, I work out in the interrogation room. It gets the blood going, and it keeps you up.
I don't have a television in my house. I haven't owned one in years. In truth, it's about mental health for me. It's hard for me to have a television in the house because I'll just stay inside and binge-watch stuff that I don't even want to watch. I've learned when I don't have a TV, it forces me to go outside.
I do heavy weight deadlift squats, shoulder presses, push-ups, and I can pull up my own body weight. And I do an ab workout just about every night. It's 200 reps of five different exercises four times right before bed: a plank with hip twists, side bridge dips, a walking mountain climber, bicycles and leg lift.
Toward the end of 11th grade, my acting teacher asked me if I was thinking about going to college. I said, 'Yeah, I think so.' He said, 'You should audition to Julliard.' I was like, 'What's that?' I'm accepted to Julliard, and I realize within the first couple of weeks just how lucky I was to be in the program.
I moved right to L.A., and I had a year of active unemployment. I had 50-something auditions for 50-something different projects, testing and doing callbacks, and could not get hired. And then, almost a year to the day of being out in L.A., I booked my first job, and then I started booking something every other month.
I had to really learn what it meant to be on a set and what the expectations were and what producers are. I had to learn who I'm talking to and what their functions are. I had a couple of gaffes: I would ask a person a question, and it wasn't their job. I had to Google their job description. That was the first big adjustment.
A few years after I graduated, I was doing a play in Boston and was asked to audition for Christophe Durang's play, 'Vonya and Sonia and Masha and Spike,' and I got the part. We were performing in Lincoln Center when, during our weekly meeting with producers, they that said they loved our show and wanted to take us to Broadway.