I never had becoming Miss America on my radar screen. But when I was 17, I decided to quit the violin and my parents were devastated.
I want to inspire people with my work, whether I'll be dancing, acting, on the big screen, or in the production room.
What we're seeing at the moment is people being radicalised or adopting Islamist, murderous Islamist ideology very, very quickly so that you have people that are not on the counterterrorism radar screen who then often, as a result of mental illness, will then attach themselves to this murderous ideology and then act very quickly.
Chimpanzees are incredibly intelligent. They can learn more than 400 signs of American Sign Language. They have memories for spatial distribution, like numbers on a TV screen, way better than ours. You come onto the emotions: happiness, sadness, fear, and despair - all the things for which I was accused of being anthropomorphic when I ascribed them to chimpanzees.
To get on screen with the Talking Asshole, quite a feat. And it's certainly going to be a cult film that people will be seeing.
The combination of drugs, homosexuality, some good prose recited on screen. . . . In the sweat lodge ceremony we went through, did you get any glimpse of the Ugly Spirit, what that was historically or biographically?
It's always nice when someone says that they don't realize it's me on screen, but it would be strange to enter a one story while thinking of another character I do, which is completely different.
I like being New Orleans. Different aspects. You have the lake house. You have a huge, almost plantation-style house, so I like the different elements of the city and what the city has to offer and putting it on the screen.
Every couple of years we'll watch the movie and it's like watching home movies, seeing the ranch on-screen. But that movie Heaven's Gate, people are appreciating it more and more as time goes on.
If you would have met me when I first started wrestling - or even five, six, seven, eight years into wrestling - you wouldn't be like "This person is a dynamic personality on the screen." That would have never happened. That's something that's evolved. You just keep putting yourself out there and you keep working at that sort of thing and you can get better at it.
I would love to see a revival of what we had against the war in the '60s - we could do these teach-ins on the internet, live and split screen, and have real in-depth debate between people that are on the "other" side of issues - nuclear, gun control, whatever. We could really be having a much more democratically involved and exciting debate with people emailing their questions and having a virtual town meeting.
Whether you're playing a mom on-screen or you're in a car pool lane driving your child to school in the morning, there are similarities that are undeniable. And once you're a mother, there are certain things that are instinct. You just have a better understanding of what it means to be a mother.
I think that the film ["Jim Younger"] still resonates, because there's just something that you can't fake about those kinds of relationships. When you see James and Stacy Keach on the screen together, they're brothers!
That was Robert Aldrich. And that [Emperor Of The North] was one of the only times I actually got a part in a movie in the conventional way: The role was there, I auditioned, I auditioned again, and then I actually did a full-fledged screen test, which they shot on a soundstage on the lot at 20th Century Fox. They put up a set, and Robert Aldrich actually directed me in this screen test.
I'm very proud to be part of a cast that's gonna put Hot Shots on screen for the first time, Hot Shots are the first line of defense against wildland fire and these guys are so selfless, they are guys that do what they do without wanting any kind of attention for it.
I think it's quite common and realistic. There are many stories like this [in Waitress]. [Jenna, my character] marriage looks really horrible up on the screen but I think there are a lot of people in bad relationships who wake up and think to themselves: "Wow, how did I end up here? Why am I still here and so unhappy and not satisfied with my life?"
It's a strange experience watching your work emerge on screen, because at one time I know exactly what's gonna happened next and then I have no idea what's gonna happen next, so it's very exciting in that way.
I'm drawn to a lot of first-time directors. One of the great common denominators in these small independent films is that there's a person, or two people, who have an absolutely monomaniacal passion to get these films made. That's what makes them happen. Sometimes, it takes years and years to finally get it done, but by never backing down, by never giving up, they get these films to the screen by hook or by crook.
The actor has the advantage - or the liability - of knowing, "It's going to be my face up there on the frickin' screen, so I better keep my wits about me. Nobody's going to care that I was bad because I was not happy. They're only going to know I'm bad."
The filmmakers that I studied and appreciated growing up are the ones that are able to dictate their vision clearly to each department, and they know the language of how to communicate with each department well enough, so that their vision is clearly transferred to the screen. So I like to spend time on sets learning from all of the departments and seeing how they approach their jobs. It's not just filmmakers, you know? There's so many mediums involved. I love learning about all of the mediums.
When they do let them sustain on screen from head to toe, though, then you know they must think the person is a good dancer.
There's what is on screen and then for us, it's if you get along with the people and enjoy showing up at work.
If you look at a cartoon on a computer screen, it really jumps and can be quite effective.
I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.
The play I was doing [on a Broadway ], I was playing an obnoxious, outspoken kid, so [the director James Lapine ] saw me do the play, and he was like, "That's what I'm looking for." I tested for the part [in Life With Mikey]. Back then, I used to do screen tests. I mean, they still do every once in awhile, but it was a big deal.
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