Top 158 Quotes & Sayings by Bryce Dallas Howard - Page 3

The greatest sci-fis, in my mind, are two things: They're what-ifs - what if this happened, and you get to see it - but they're also these philosophical cautionary tales. They deal with the underlying themes beneath the what-if.

The other thing I've been discussing with friends is: when you're born do you start at a zero, or five?

I have an association that director means total authority. Director means they will never let you down. Director means just trust them and fulfill their vision, and know that the story will be told in its best incarnation.

The clearer that division [of social media] is between it not being a reflection of reality, and being a complete make-believe world, the more we're helping ourselves.

In the culture we live in, there's this pervasive, shared agreement that there's a certain body type to admire, and it isn't actually based on anything real or substantive.

I definitely hope that I'm improving. If I'm not, there's a problem - I'm just coasting.

The ability to play pretend is something that everyone has access to; you see little kids doing it.

Joe [Wright] reached out to me and sent me a treatment, and I said yes on the spot just from the treatment. Within six weeks, I was in Cape Town and there was a script [of Black Mirror episode 'Nosedive'], but I didn't realize until I received the full script that Rashida [Jones] and Michael [Schur] had worked on it. It's a particularly funny episode. Joe and I always looked at it as a satire; it has a lot of comedic elements to it.

I actually gained 30 pounds [for the episode], and I haven't lost all of it yet so I haven't been like "I gained 30 pounds!" Because I don't know if people can tell the difference.

I think my favourite memory from filming 'Jurassic World' would just be a compilation of me running through the jungle in heels, and just how absurd that really was. That that actually happened.

You do your best [ on auditions] and sometimes you win 'em over and sometimes you don't.

But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.

It was such a paradox for me that the only thing I know how to do is act, but that the first thing I abandoned while writing were the characters

I'll run through things over and over and over again in my head and think, "How could I have done that better?" Silly things like that.

I was in South Africa, and Joe [Wright] asked the same exact question that you just asked: "Have you ever seen an episode of Black Mirror?" I went back and played the video for Joe. The episode that I did is called "Nosedive," and it was a year to the week from when I first watched it. It was just very bizarre, this very weird coincidence.

It's just that the characters are speaking their mind. As opposed to it just being an expression, they're actually saying what's on their mind, and that's something that Tennessee Williams is really famous for. Shakespeare does that and Tennessee Williams does that. You crave that, when you're an actor, for sure.

I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.

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.

The work that we do is so tricky because it rests on our shoulders, but it's also collaborative and part of it is trusting the people that you're working with.

I have nothing nice to say about Chris Pratt, of course. He's probably the greatest hero of our time in real life, honestly.

For me personally, I don't go onto Twitter or Facebook, my hubby helps me out because sometimes I'm concerned that I'll see something that will upset me, and I don't have a way to work it out with that person.

For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.

I had watched an episode of Black Mirror almost exactly a year prior to when I started shooting my episode. I was by myself in New Zealand, and my husband was like, "You have to see this show. It's so incredible."

Sometimes I think to myself, "I wonder if Meryl Streep is ever like, 'Oh gosh, everyone thinks I'm so perfect! I wish that someone would give me a note.'"

On the spectrum of imagination, there are people who are more imaginative than others - I guess some kids are hardcore pretenders and have imaginary friends for years and other kids play and they have fun, but it's not quite as specific like that.

In the beginning [of my social media life], I started posting and someone I'm close to said, "you're only posting pictures of yourself in your grungy pajamas. You're an actress be aspirational." Then I was like, "I'm not living an aspirational life on a day-to-day basis." For a while after that I was only taking pictures of, like, objects.

There was definitely a learning curve in terms of being on film, but being on a set was all good.

I've always felt really lucky to get to work with really great filmmakers. For me, the whole objective is just to hopefully be of service to what they want.

I saw an episode - the second episode [of Black Mirror], "Fifteen Million Merits" - and I completely flipped out: "This is what my nightmares are made of. This is the most terrifying thing I've ever seen."

I felt very comfortable on a set - incredibly comfortable on a set, which is a real gift because that can be hugely intimidating.

I started taping my dad's auditions when I was 11, when he was auditioning actors for one of his movies. I would see, over and over again, that there wasn't just one actor for the role. It was really clear that there were a lot of people who could play a character really well, and it would always come down to something kind of weird and non-obvious as to why a person was cast. If you're not right, you're not right, but that's okay.

Where I'm like,"no, I won't have that piece of bread, I'll have the veg." There's a different approach mentally that you have when you're in a safe space. Our body awareness in the West is ridiculous.

With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.

I'm a huge fan of the animated film 'The Land Before Time' and that was one of my favourite animated films when I was growing up.

What it's done for me is highlight the fact that we need to lean into the cartoon universe of social media.

Sometimes acting, particularly in film, can feel so contained. You need to be small and not overplay things, so it's such a relief to be able to go as far as you can go with an emotion or a feeling or a speech.

I didn't know how to check other people's feeds. When I started Instagram, it was just me posting! But then at some point, like eight months ago, I realized I could see what other people were sharing. It was so exciting and so fun, but it was like I'd already gotten into the rhythm of sharing and not worrying about what it was like compared to other accounts. I think that was kind of protective, in a way.

Joe Wright is incredible and I'm a huge admirer of his work in general, but specifically his aesthetics and poeticism.