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You need to not be able to do anything else, to be in this business. If you have other options, in those unemployed moments, those other options will take precedent. From a directorial standpoint, I think it's really Freudian, the amount of trust I have in filmmakers because I have such a trusting relationship with my dad.
I'm not trying to take anything away from film acting, because it's also really hard, and I worship the people who are great at it. But to actually have to go out on stage night after night and do it with your audience right there is so wild and scary and exciting and fun and all the things that I remember loving about it.
I have an American son and an American partner, so marriage might logistically make sense at one point. My partner is a stay-at-home father, so if he wants to be on my health plan, or tax wise, or maybe on paper we want to have our I's dotted and our T's crossed, but emotionally, neither of us really feels the need for it.
I was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.
Promoting a film can get tiring but if you find a clever way to promote it, it can be fun. Also, it is not fair to yourself and the film if you don't promote it. You've worked hard for the film for the past six or eight months and then if you don't give it your all and create awareness among the people then it is not fair.
I've had somebody say, "I want you at my wedding, but I don't want you to pull focus, so wear jeans!" Losing my anonymity is something that's proving to be very challenging.... It's good for your soul to walk around unnoticed; there's so much you can't do when everybody knows who you are. And I so miss those little things.
My sister gave my two-and-a-half year old this book called 'And Tango Makes Three,' about the gay penguin couple at the Central Park Zoo. They cared for an orphan egg 'til it hatched and then raised the baby penguin as their own. I cannot get through this book without copious amounts of tears and snot running down my face.
A lot of times I play the villain or the comic relief, and I get to kind of play the comic relief to a degree, which is fun, but I also get to say, "You are created in the image in God. You are a perfect child of God. And this part of you is the heart of who you are. You're not alone, and you're okay just the way you are."
Beauty and makeup are not things people should think of as vain. It's an expression of yourself and can be seen as an art form as well. Also, it just makes people feel good because they're taking care of themselves. Anything you do to take care of yourself will inevitably make you feel better. That's the effect makeup has.
I was around New York at a time when independent cinema was at its peak and became kind of popular and mainstream. It got some hype, culturally. After that, studios started to have independent companies within their studio system, and they found bigger stars willing to do new material. That's kind of what it's turned into.
Though I technically come from a film family, my father had stopped making films even before my brother and I were born. So I did not really grow up in a filmi environment. And when I was growing up, becoming an actress was still quite a taboo. And you may not believe this, but even my father did not want me to join films.
Sometimes I can inhabit a feisty, vicious character. Sometimes I can inhabit a painfully shy British girl, or whatever it might be. I'm able to step into these other parts of myself. I feel like, as long as I keep doing that in my career, and I keep tapping into different parts of the human condition, that's all I ask for.
With movies, depending on who your director is or what kind of movie you're shooting, you kind of have more of an ability to play around with the material, go off the page, improv. It's like we did with '21 And Over.' Same thing we did in 'Walk Of Shame.' Same thing we did in 'House Bunny.' You have the freedom to do that.
I was home-schooled and I graduated super-early. But I've always had older friends, so I got to go to all their dances. I got the best of both worlds. I had the choice to go to prom with a friend of mine and I decided not to because I was filming very close to that. But red carpets and the 'G.B.F' prom were so much better.
I think people in the north and the south and the east and the west, anywhere they come from, are just as interesting, and they're humans. They have the same realm of emotions that we all have. But I'm just more drawn to the Southern character and the different types, and Southern literature is so lyrical and so wonderful.
My mother was working on her college degree throughout my childhood, and being the youngest in the family, that meant being dragged to a lot of her classes. She majored in playwriting, so I was exposed to theatre from a very young age, and it was just the most magical world to me. I never really wanted to do anything else.
That moment in 'Broadcast News' where Holly Hunter is told how great it is to be the smartest person in the room, and she cries and says it's awful - I definitely have moments like that sometimes, moments when introspection and drive can be lonely-making. And it doesn't help that I have a partner who is very work-oriented.
People say, 'Well, whose career do you follow? Where do you see your career going? What movie do you want to do next?' And I can't tell you what type of movie I would go and do next. I would have to read the script and feel for a character. And if I feel in my gut for a character, I know that that's somebody I have to play.
I can empathize with women who feel that [sexism]. I personally haven't experienced it, and I'm grateful for that. I feel very appreciated on the show I'm on, but I do empathize. My concern is less the entertainment industry specifically, and more the general problem that women don't get paid as much as men in any industry.
Years ago nudity was not done in the United States. But during that late 1950s era in Vegas it began at the Tropicana, and spread to the other venues. Now the showgirls are going away again and Cirque du Soleil, the magic acts and the animal acts reign in Las Vegas. But I don't think you'll completely lose the boobie shows.
I would like to believe that I am a collaborative actor. That's why I love all the directors I have worked with in recent times, as they are all collaborative directors. I think my constant desire is to keep bettering my own work. I don't get easily satisfied with my work; I am very critical of it. I learn from my mistakes.
And when you're with a great crew like we had, it becomes a thrilling, again, collaboration, which is to me one of the great aspects of the process that you go through. I find myself at this point in my career, getting potentially, incredibly bored if I stand around a lot, so that's why I really like the pace of television.
The only way for errors to occur in a program is by being put there by the author. No other mechanisms are known. Programs can't acquire bugs by sitting around with other buggy programs. Right practice aims at preventing insertion of errors and, failing that, removing them before testing or any other running of the program.
Naturally, I was thrilled but being the first year, the Academy Awards had no background or tradition, and it naturally didn’t mean what it does now. Had I known then what it would come to mean in the next few years, I’m sure I’d have been overwhelmed. At the time, I think I was more thrilled over meeting Douglas Fairbanks.
Because I come from the theater, I use the images of the theater and of movies a great deal when I write. I see the story in my head. I have to break down the outline of a story first. I have to know where I'm going. Usually I have a good beginning and a good ending, and then I think, "Now I have to find my way through it."
The problem in America as far as actors are concerned - and it's probably true in other fields, as well - is that they don't value people who are older or talented. I don't think ability means anything. How much money you have or how much money you can make for them are the only things they seem to care about or understand.
The only thing that seemed to me I could do in such a way that no one else could was acting. I thought, I can be a doctor, but there's going to be someone else who is just as good or better. I can be a lawyer, which I still sometimes think I would love to be, but I think there's someone who can do it just as good or better.
I am really touched and surprised that your generation [of millenials] feels that way, and I'm really happy the work stands up. But that show [Seinfeld] is going to stand up for all time: it's one of the greatest things that has ever been written, and still speaks to the quirks of being a human being no matter what the era.
If you read a lot of Chinese literature, there has always been very strong women figures - warriors, swordswomen - who defended honor and loyalty with the men. So, it's not new to our culture - it's always been very much a part of it. It's good that now the Western audience would have a different image of the Chinese women.
When I turn on the news in Paris, the way Syria is covered is different from the way it is covered in Washington, D.C., or London. Even in Western society, where we hold all the values of democracy and freedom of speech, as soon as you point a camera in a particular direction, there is an angle - literally and figuratively.
The Ramones couldn't play in my key. They couldn't switch keys, so Ed Stasium literally had to play all the instruments for my version of "Rock 'N' Roll High School," and I always thought that was so weird, because it's not the Ramones playing. It's the producer, who happened to just be a musician and could play everything.
The great thing about cinema is that it's a great binder. It brings people from across the world together, often erasing the lines between geographies, languages, familiarity, and the like. Cinema is art and art, they say, is a reflection of life and society, so the way we tell our stories is the main differentiator for me.
When I grew up, I never saw anyone looking like me on TV, you know? I'm so glad to see a lot more of us on television, whether it's Mindy Kaling or it's Irrfan Khan or Freida Pinto. You know, I hope, like, little girls across the world can just look at me and say, 'Ah, I want to be that!' Indian or not, it shouldn't matter.
If I'm going to be honest with you, when I trained at school, I feel like I was training to be a chameleon. I want to be that versatile actor who can do anything - that's why you learn fifty different dialects, you do Shakespeare, you do commedia, you do it all so that if any job comes your way, you should be able to do it.
I listen to a lot of what my sister Rhea says. I give her a lot of credit for my stuff. When people give me credit for my fashion choices, it's my sister who creates them. This whole fashionable avatar has been created by her. It's her brainchild. It's not me at all. Rhea really takes care of me, though I am older than her.
My little sister told me about the Twilight books and what a big fan she was. She said, "It's like Harry Potter in love," which it's not. So, when the audition came up, I wanted to get the film for her. It was great because I got to take her to the premiere. She got all dolled up and was treated like a princess for the day.
Even though she's dealing with a scar, Emily just carries on with life. It's not a big deal. While we were shooting the scene, I tried it different ways. I tried it where I was hiding my face, and Chris [Weitz] was like, "Let's try it where she doesn't care," and that's who she is. She doesn't care what anybody else thinks.
Siddharth accepts me in the way I am. In the first few months of marriage I got bogged down by the notion that I had to juggle between handling home duties and starting work on a new film. He explained I needn't be a superwoman. He understands that if he could go out to work and end up neglecting things at home, so could I.
The older I get, for me it's about fear. If I read something and it scares the hell out of me, that's what I want to do. If it's a challenge and a massive risk and I'm going out on a limb ... those are the ones I want. And they are few and far between. I don't work very much because I'm very specific about what I want to do.
I think that there have definitely been points when I've had to fight to move my career in a different direction. I think, 2012, I did a few movies that touched on a darker side, and those are movies I'd been wanting to make and stories I'd been wanting to tell for a while. So I think it definitely takes work to move genres.
I'm always satisfied with going to soup kitchens or homeless shelters. A big one for me is children's hospitals. I love spending time with kids, rooting for them, making them laugh. Any small act of kindness is just as important as a donation. So volunteer. Go out there and see how you can make a difference and help someone.
I feel that I can't do certain things that have sent to me, scripts, because I think that really - I've been June Cleaver for so many years, because we went back, you know, and we did - 20-year hiatus we had - and we went back and made 105 new ones. And so I really feel very strongly that there are certain things I won't do.
You can't create chemistry. In fact, the chemistry between two actors is for people to see, sense, and judge. The only thing we can do as actors is to come on board individually because we feel the same kind of passion for a script and for a director to cast us because he feels that, as actors, we'll do justice to that part.
I don't know how I would have gotten through this life without someone to really love me and I love them, him, and them [family]. It's forgiving. Love is very forgiving to one another and your friends and it's a powerful, powerful emotion and it's my favorite emotion in life. Now, write that down and read it and remember it.
In terms of scripted shows, I love 'Mad Men.' Cinematically, it's one of the most beautiful shows ever made. I love the subtlety of the acting and the storytelling, and I love that they don't think the audience is dumb. They make a great show, and you figure it out, and it leaves you with so many questions - it's just great.
I've grown up seeing the pros and cons but I love it and I've always wanted to act. Throughout all the rejections at auditions, and especially when I finally did get something, both my parents have been so supportive and always told me it is all about passion and, if I was doing it because I love it, there's no wrong choice.
If you're comfortable with yourself, then you'll look beautiful. If you're not feeling comfortable with yourself, than that kind of shows. I think that as cheesy as the pageant industry can be seen at times, it actually does help women - boosting their confidence and growing into their own. I have to give it credit for that.
The truth is even though we sort of feel like we have equal rights in America, right under the surface we have huge issues at play that really do affect women. It's time for all the women in America and all the women that love women and all the gay people and the people of color that we've all fought for to fight for us now.
I don't think a lot of people in America understand what Indians are. And that's our fault, a little. We tend to forget our roots a bit. As kids we think, If I'm too Indian, I'll be put in a box, and people will think of me as different. They'll think I'm weird, because I eat Indian food or my name is difficult to pronounce.
You don't get roles like leading character in 'Christine' very often because people don't really like women on film to be unlikable. I think Christine is lovable, but I don't think she's likable. I think there's a fundamental difference. For me, those are the richest ones. Men have had a career of doing those kind of things.