I find more and more, as time goes on, these people I meet, they are starting to become these people I look up to more and more. Like Julianne Moore, also, on Crazy Stupid Love: kids, husband, priorities straight. Or Woody Harrelson's like that. Those are the people I really admire, and that's success to me: being able to balance that life and not buy into it. And do the work that you want to do and makes you happy, because you're lucky enough to do it. But if I never got a role again, I've got this incredible life.
As much as I try to be present, it just doesn't really feel like reality. It feels like a fleeting thing. There's a million other incredibly wonderful girls that are much more talented than me that are out there all the time. So I'm just trying to appreciate it for what it is. But I don't want it to take on that feeling of pressure, because I don't know where that's gonna get me.
Success to me is my friends and family are healthy and happy and I feel good about myself at the end of the night and I can sleep at night.
Being able to work on projects that I love and care about has been the greatest gift ever, and that's been a pretty recent thing in my life. But success for me at some point will probably be having a family.
You usually get a script and you tell people what the story's about, and they have no idea what's going on. Whereas with an adaptation, you come into it, and it seems like everyone you talk to has a million opinions on the cast and the way the story should be told.
Viola Davis keeps saying this movie should be called The Big Responsibility instead of The Help, because there were so many groups of people that you wanna do right by. You want to do right by Southerners and the African-American community and the readers of the book and the people that grew up with domestics and the people who worked as domestics. There's a million different groups that you're trying to please and satisfy that you're worried about not loving what comes across onscreen.
It's like a puzzle, putting together your individual accent and what you grew up with or what you heard. It must be insane to be a dialect coach, to balance all that out.
I think Skeeter even says that when she calls up Miss Stein. "No one asked Mammy how she feels in Gone With The Wind." Mammy wasn't really much of a fleshed-out character. She was just kind of there to take care of Miss Scarlett.
By county, there's like 14 different accents in Mississippi alone. And now, present day, a Mississippi accent is different than in 1963. So we had a dialect coach, which is like going to visit France and having to translate all your emotions into French, and French isn't your first language. I had to go through that filter, so it was interesting.
I wouldn't consider myself a so-called 'celebrity.' Arrrgh, for the love of God!
You always are changed when you come back from summer camp.
I'm trying to just accept things, accept the beauty of things and the joy and positivity of things as they are in the moment and accept when it's not that way as well. Because, of course, none of it lasts forever. It's all going to change very rapidly. But that doesn't have to be a bad thing. It doesn't have to be panic-inducing. It can be just the way life is.
I think as time goes on, I'm trying to get less fatalistic, because that's just one of those unhealthy, kind of dangerous head spaces to get in, of not being able to tolerate sustained positive energy.
Nothing lasts forever. Highs, lows, it's all fine. A little gentler with it. Because I really used to think things going well, for some reasons, would be much more terrifying internally than things being a bit chaotic for me.
One of the coolest things about being an actor is growing, and changing with everything, and never making the same decision twice because you've learned so much from the last project. I guess that's like in life. You keep moving through, and you hopefully learn from your mistakes and just get better and better all the time.
Anything that can be perfect is very damaging for my psyche.
There's no right way. There's no measurement system. That's why, you know, art competitions are a little confusing to me. I mean, they're lovely, but so many people are affected by different people and different things in such different ways. And yeah, it's immeasurable.
I have been so deeply, profoundly lucky to have friends in my life that have always just loved me exactly as I am no matter what time period I'm in.
There is something to the fact that when you're on stage or when you're playing someone else, you're able to transmute all the things inside you that maybe get a bit blocked by the wall of shyness, or the wall of anxiety, or [by] overthinking. They sort of fall away in that moment and channeled into something else.
It doesn't matter what you do. It matters who you are.
Those people that have hardened to rejection or hardened to life in general, it's pretty hard to feel them. You know, to look at their eyes on screen and feel them. I guess that's specifically talking about actors, but I think that's probably [true] in general. You want to keep your skin thin.
You have to have a thin skin. As a creative person, you have to. You can't get a thick skin.
My mom lost her dad at a very young age, and has this sort of belief system of, you know, "If there's something that you want to do, if there's something that means a lot to you, do it now."
There are some things that have to wait and that can't just happen right now.
The beauty of any city is really the people within it and the people that you're close to.
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