Quotes of All Topics . Occasions . Authors
There must be a thread in everything I choose to take on, and I can't say it's a calculated thread, but I think you end up doing the work that's resonating with you.
I think film is a director's medium and the good filmmakers that I like tell the darker stories. Therefore, I'm always inclined to follow people like David Cronenberg.
Liev cares about a lot things. Israel is one of them. We had the good fortune of going there a couple of years ago. To share that experience with him was a great pleasure.
I go to a dance class myself called BBS - Body By Simone - its little mini dance routines and I am often the oldest person in the room although I forget that. I'm fairly fit.
I think every time you take on a new role, you're trying to help find that voice and you add your own bits and pieces along the way but with Noah [Baumbach] it's already done.
I want collaboration, but if they don't have a plan or their vision isn't clear, it's nerve-wracking. So, someone that's very sure of the vision is what you want, most of all.
Personally I feel, for me, it's tough to do Botox - but it's also tough not to! Sometimes, I think I need the help. Whatever anyone else chooses is fine with me - no judgment.
If I have to produce movies, direct movies, whatever to change the way Hollywood treats older women, I'll do it. If I have to bend the rules, I will. If I have to break them, I will.
I actually have a fear of the water because I nearly drowned. I got caught in a rip tide, and I wasn't a good swimmer because that was when I was emigrating from England to Australia.
It's always nerve-racking to take off your clothes on film. But doing it with a woman felt safer than with a man. You know you can say, 'Don't grab me there: That's where my cellulite is'!
I felt I grew up when I was about 28. I feel pretty much the same. I get reminded when I look in mirrors that I am not. Hopefully, you keep growing and keep planning things as you go along.
You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.
I consider myself British and have very happy memories of the UK. I spent the first 14 years of my life in England and never wanted to leave. When I was in Australia I went back to England a lot.
On set is where I feel comfortable. The red carpet stuff, talking about the film, explaining your own life, it doesn't come naturally. It's all necessary stuff I suppose but it's not my strength.
I hate diets. Restriction makes me feel rebellious. I find that I look my best when I feel my best, whatever that takes. For me, above all else, it means being around the people I want to be with.
I'm a tomboy now. I always wanted to fit in with my brother's group, so I climbed trees and played with lead soldiers. But I'm a woman's woman. I never understood women who don't have woman friends.
I can't see the film industry coming to a grinding halt any time soon. I think we may be more open to negotiations and things like that, but I think the art world tends to thrive in times of recession.
I feel like I've been hit by a car every night, that's how I feel emotionally after The Race show. But it is a complete dream come true. For me growing up in New York all I ever wanted to do was Broadway.
I was going on years and years of auditions and being told I was too this, too that, not enough of this, not enough of that, to the point where I was so afraid and diluting myself into absolutely nothing...
It was total naivety that got me to Hollywood. I thought it was going to happen straight away. I told myself 'give it 5 years, there's no way I'll be here after that if it doesn't happen'. Cut to ten years later!
Rodrigo Garcia is a brilliant writer. He just loves women. It is evident. When you are in the presence of him you can just tell he has a terrific understanding of women. He has two daughters, and he loves his wife.
I think it's good to explore it. I don't feel bad about that... I mean, I think everyone has a sense of - has a dark side, has a - carries some sort of pain with them. And I find it fun to crack it open and go there.
I had gotten to a place where I truly believed everything I was called: 'not sexy,' 'not funny,' 'too intense,' desperate.' All those labels they gave me, I took them because there wasn't a trace of my true self left.
There was a time I was very much blaming the way I felt on L.A, that it was a vacuum of creativity, of humor or anything organic, and I was really angry at the place. But then today I feel completely different - I love L.A.!
Sometimes they come to you and it's a small role, so it's about the experience and the journey and mixing with people you know you will learn from. Or sometimes it's a scene in a movie that you think, 'I just have to play this person.'
Women in their 40s have gone through quite a few different things, and so the roles are going to reflect that. People say, 'Oh, it's done by 40,' and now everyone knows it's not. I actually feel like the roles are a lot more interesting.
Who are we when we leave our families? Who do we become? What are we capable of? That's something that never leaves us. It begins at that point in your life when you leave the nest, and I don't think we stop wanting to explore that question.
At seventeen most people get their ears pierced or get a tattoo or something slightly taboo. That is what I love about Rodrigo Garcia, he's not conventional. He's someone who sees people in extraordinary ways, and forgives them for being such.
Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.
Whatever is said about roles drying up, I intend to keep working. Certainly now the roles couldn't be more interesting - playing mothers, divorcees. I think it's going to be exciting to play a mother of teenagers. The longer your life, the deeper it gets.
In your 20s - and these are generalizations of course - I feel like I didn't care about as many things or as many people, or even myself, as much. There's more recklessness and more ruthlessness; you're not as considerate of how things land with other people I think.
Parisian women have an inner elegance that's envied the world over. They are so relaxed about ageing and seem to acquire more charisma and beauty with time. Who wouldn't want to be like them? That's the trick - to embrace the natural progression of life and to be confident.
Of course, I want to look the best I can, but I am playing characters that should match my age, and the women and the material that I am interested in are usually going through something. I have to be able to live in my face and tell the story of the character I've taken on.
I've done a few remakes now, as you know. And my philosophy is, you see the original film once, and that's it. You have to do whatever you can to shut it out, because you don't want your performance to be tainted. You don't want to fall into the trap of comparisons, basically.
Sometimes you arrive late in the process of filming, which makes it a little scary because they've already got this well-established technique going on, and all of the relationships are comfy and cozy. You have to figure out how to fit in, which can always be a scary first day.
Whenever I am in Paris, all I want to do is inhale a big plate of cheese. And in New York, my favourite thing is a toasted bagel with cream cheese. Not only do I not avoid carbs, I more or less have them in every meal. When I start denying myself foods, that's when I crave them.
The thing that I love about acting is the fact that I can help people feel things, know themselves or feel less alone. It's my form of expression, in the same way that someone might paint a picture or sing a song in that you're hoping that it moves somebody outside of their own way of thinking.
Since I had children I have taken huge amounts of time off. In a way it's a really good thing, in this show business especially, to have lots of private time, having lots of time to be in the world to observe people and read and take care of my kids helps me to come back into work with a thrill.
I don't know that any woman could ever not think about that at some point - even making the choice not to do it and getting to the place of peace of choosing not to be a parent, there would have still been some struggle in between. I'm not a man but I don't think it would occupy their minds as much.
I've always loved to dance and keep fit but more recently I feel like I cannot keep up any longer and my back starts to hurt. And I get angry and then I have to really learn to forgive myself and go: you know what, you're nearly twice the age of some of the people in this room, give yourself a break.
That's one of the lucky things about getting the success later on. I know how I want to dress, I know what kind of house I want to live in, I just know more about myself, and that's true about the roles I want to play and what parts of myself I want to express. You're just more in touch with yourself.
Dance was one of the things that led me to acting even though I say I fell in love with acting fairly early on and its true but around 16 and 17 I got heavily into dance but I think I just came into it too late and I was never going to be really great at it so I let it go and the dance led to more acting classes.
It's unusual to spend even three full hours away from my newborn baby, it's like a piece of my body is back in the hotel room, and it does feel strange. But I love my work, though, it's not just a job for me, punching in my time card. I've always loved what I do, it's what makes me happy and I figure if I'm happy I'll be a good Mum too.
We had met with Ben Stiller here in LA when I was shooting The Ring and he was doing Meet The Fockers and we have friends in common. But we didn't know each other well. He's fantastic and we really had a great time on this and we were both laughing at where we were at, this other couple, and how it was mirroring what we were going through as well. It was clever writing in that way.
I got knockback after knockback at auditions. Just before ‘Mulholland Dr.’ my agent told me I was so intense I was freaking people out. She told me I was a brilliant actor but the feedback was that I made people feel uncomfortable because I was so nervous and intense. I just sat there and blubbed. My mum was staying in LA at the time and I went to her and said: ‘I just can’t do this. I’m not cut out for it.’ She just said: ‘Don’t believe a word people say about you. Forget them.’
It is a huge amount of pressure playing someone like Valerie Plame-Wilson. First of all who she is and what she's done is wildly intimidating and impressive. It is just scary to take on that responsibility, and you want to honor her story, an incredible story that affected us all. She is often doing things that were confusing to me, like her sexual prowess. I think that she is in a lot of pain and she has been really badly wounded along the way. She doesn't hold men in the highest regard... not just men but people.
Never say never - and I certainly don't judge anyone who does it. But most of the characters I play are going through some kind of emotional turmoil, so my job requires me to have expression. If my face was froze, what right do I have to play that part? All the women who haven't done anything to their faces are still able to play great roles. And some of the ones who have done something have messed it up - they look freakish. Anyway, for me it's about playing women with rich lives - and the longer the life, the deeper the wrinkles.