Quotes of All Topics . Occasions . Authors
Wherever Koreans are, they set up a church.
Self-care doesn't necessarily mean jogging!
I'm not a slave to fashion; I'm into exercising my individuality.
I grew up in so much church: English-speaking church, Korean church.
Becoming an actor? If it's not a calling, don't do it. It's too hard.
I am so constantly amazed by people's care and love for Cristina Yang.
I think it's just as important what you say no to as what you say yes to.
If you have ever been to couples therapy it's really, really challenging.
I don't spend too much time on social media, so I can protect my mind space.
Creatively, I really feel like I gave it my all, and I feel ready to let her go.
You should see my house. It's sort of explosive. Like a crazy person lives there.
Actually being able to exercise your own choice can bring about greater opportunity.
Hollywood likes to put actors in boxes, and it likes to put Asian actors in really small boxes.
I was lucky on 'Arli$$.' I basically got to do whatever I wanted because HBO is great for that.
We actors, we're a fragile bunch, and yet we need to be strong because 90% of our lives is rejection.
I think all women should learn how to strip. It's a really healthy, extremely challenging thing to do.
I feel comfortable in places like London. You get many cultures in L.A. but it's strangely segregated.
I remember everyone in high school thought I should be a journalist because I looked like Connie Chung.
There's, like, a dark needle or a nail that lives at the back of all of our heads, and that's your fear.
Anyone who has been obsessed or been in a mad love affair, sometimes you don't make the right decisions.
Koreans are ambitious, man. It means a lot to my parents that I do the work that I do and it has the visibility.
With small breasts, you don't have to wear a bra with dresses that have some support. It feels sexy without one.
When your life changes and you become a more public person, in some ways you need to be a more closed person, you know?
The best thing I've ever taken from a set is the rug in Owen and Cristina's apartment on Grey's Anatomy before they broke up.
I love my hair. When I was young it had weird kinks and cowlicks in it, but I just grew into it. You grow into a lot of things.
I feel like I don't really have a sense of humor... I don't know if I could characterize it dark or light. I just - I do like humor.
The beginning of my career was so brilliant. It wasn't until ten years later that I went, 'Oh, that was a big, fat fluke and, boy, was I ever lucky.
The beginning of my career was so brilliant. It wasn't until ten years later that I went, 'Oh, that was a big, fat fluke and, boy, was I ever lucky.'
And on a Canadian set, everybody is equal. You get paid the same. You live together in barracks. You have a communal kitchen. You buy and cook your own food.
I don't get jobs in films by auditioning. I'm not blonde. You can't place me in movies the way you can with certain actors. It's very difficult for my agents.
I think the roles in television are better for women right now. At this point, I don't want to continue doing the same things I've been doing in film because it's very limited.
When I saw 'Fleabag,' and when this script came to me, there is a uniqueness and a dark naughtiness to Phoebe Waller-Bridge's sensibility that I did gravitate towards, very much.
When you're able to shoot in Europe and internationally, those locations don't lie. The feeling doesn't lie, the quality of the light. You can always tell when it's shot in London.
I was very young when 'The Carol Burnett Show' came out, but that kind of comedy and the spontaneity of her, I think it really deeply affected me within just the joy of performance.
I can get a better role in TV and work more constantly than I can waiting around for my friends in Canada to call me every four years - which they do - and I go up there and play a leading role.
It takes a long time to free oneself from chatter - goals, social media, image, persona. And if you're able to move through in that way, you can actually start trying to create from a different place.
I take it extremely seriously to do absolutely the best work possible and the truest work possible, because I feel like that is what's going to resonate not only for myself but hopefully for an audience.
A lot of things that I can't get into the room for, even just to be seen, is because they're just saying 'No. they're not casting non-white.' You're lumped into a category with people who are just not white.
People ask me what I'm writing. They think I'm Sandra Tsing Loh. Or they ask about stand-up. 'No, that's Margaret Cho.' I really think there is this kind of glomming, that they think we are somehow all the same person.
I grew up never seeing myself on-screen, and it's really important to me to give people who look like me a chance to see themselves. I want to see myself as the hero of any story. I want to see myself save the world from the bomb.
As a working actor, all I want to do is work. That's it. It's terrifying when you don't work. It's very hard when you don't work. There have been times when I've been out of work for like six months. I feel theatre to me is like manna.
I equate fame towards people who know your work, people who will see your work. But all that stuff, like with the Genies and stuff like that, it was so much fun. It's so much fun and it's nice when it comes, but that's not what it's all about.
All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.
Being present is the actor’s job. Being aware of your body, in space, and the emotions that are occurring inside, is essential. Well, quite simply, the more aware one is-of yourself, of your surroundings, of other people-the more likely you are to respond truthfully.
In many Asian households, to not go on to higher education, that's like a big no-no. I know my parents' discouragement was for my own protection, and I'm really close to them now, but they didn't understand that there is value in this. That's because they didn't know.
I love actors; I love seeing great performances. I just love that, when I'm seeing a performance, that inside me, I just go, 'Oh my God, how are you doing that? Where is that coming from?' Where you see an actor do something, and I can't even locate it in my own body.
I saw 'Joy Luck Club' when it came out, so that was early mid-'90s, and I remember seeing it with my long-time collaborator, Mina Shum. We'd just done 'Double Happiness,' and we saw this movie, and we were weeping. Like, shuddering weeping. Weeping more than really the film deserved.
Sometimes the future changes quickly and completely, and we’re left with only the choice of what to do next. We can choose to be afraid of it. Just stand there trembling, not moving. Assuming the worst that can happen. Or we step forward into the unknown, and assume it will be brilliant.
Young Asian people who come up to me have a certain vibration, and I receive it, and I understand it, and I feel emotional just talking about it. I'm here for you. And I'll continue doing everything I can to fill something that I know you need right now that we don't yet have as a community.
I'd be so fascinated to talk to a psychologist or sociologist about the deep psychological impact of seeing oneself represented. I don't think we've really touched the surface of what it does to the psyche of a people if the only image of you out there is negative. Or if it's never out there.