A Quote by Anna Paquin

There are very few films or plays or anything about really happy people with perfect lives. Everyone is usually screwed up in some way and that is usually where the work comes in - figuring out how to make it believable and make it real to present someone.
Everyone is usually screwed up in some way and that is usually where the work comes in - figuring out how to make it believable and make it real to present someone's problems that you don't necessarily actually know anything about.
There are very few films or plays or anything about really happy people with perfect lives.
One of my jobs as an actor, regardless of who I play - even if I'm playing a despicable character - is to make people think that that character could exist, that he's real, and the way to do that is to make him believable. He doesn't have to be likable or charming, but he just has to be believable. That is someone who I could see on a bus. That is someone who I could walk past in the street.
It seemed to work on camera. And there's very few films - because you make a lot of films and you meet people and you work very intensely and intimately and then you're gone - but there's a few where you actually make friends, and this [The Fall] was one.
In America we've spent over a billion dollars on autism research. What have we got for that? We've not seen anything that's appreciably impacted the quality of life of autistic people, regardless of their place on the spectrum. Quite frankly, we've spent $1bn figuring out how to make mice autistic and we'll spend another $1bn figuring out how to make them not autistic. And that's not what the average person wakes up in the morning aspiring to. They think: am I going to be able to find a job, to communicate, to live independently, either on my own or with support? Those are the real priorities.
You just have to work really hard and throw everything into it. ... It's really hard to be an artist, and even if you do work really hard, there's no guarantee about anything. There's no advice you can give someone that things will somehow work out, but you can talk to people about how they can make art a big part of their life.
People are screwed up in this world. I'd rather be with someone screwed up and open about it than somebody perfect and ready to explode.
It's easier to greenlight your own films when you're not surrounded by other people aspiring to make films. You have to work a little harder and rely more on yourself and your collaborators and the real relationships you have. There are so many hypotheticals that dominate the industry, and everyone's always waiting for someone else to tell them when to make a film and write a check and sign the talent.
I tell women to stop learning how to keep a man and make him happy, and to try figuring out what they want from a relationship, to trust their own instincts and not worry about pleasing someone else.
What I am most proud of with the book On to the Next Dream is how I turned an intensely emotional experience into art. Anyone can run up to a rooftop, tear off their clothes, and scream about how screwed up the world is. But for the people down below, all they see is a person losing their mind. I wanted to make something that channeled that emotion in a way that elicited an empathetic response from the reader. So that after you read this book, you would want to run up to the rooftop and scream about how screwed up the world is.
They're making so few movies that you really just have to make it. It's going to be the only way you end up getting work. I don't believe anyone's going to really go out on a limb and just throw millions of dollars on someone that's not been proven. They're going to have to show somebody something at some point.
The action films I will make in the future will be more believable and character-based. I am now on my second cycle of fame, and I want to make films that smell real and are truthful.
Like I always say, it's not how many great plays you make; it's how few bad ones you make. I know fans, and even some losing coaches, are enamored with long pass completions or the great run plays, but that doesn't offset the interception or the fumble.
To me everyone goes through that at some point in adolescence, you know. There's - you meet someone when you're a young teenager, and they're never right for you, and you always wind up hurting someone on the way to figuring out all this stuff. But it was a fun writing process.
I suppose for a very long time I've been trying to understand how it is that people might make sense out of their lives and make meaning and make their lives meaningful in the face of the trouble that life brings.
I'm a real people pleaser, and for a while I was really desperate to make a kind of thing that would satisfy everyone, and I realized I was focusing so much on satisfying everyone else that I'd forgotten that the only real way to make anything true is to focus on making what you want to hear and saying what you want to say. Trying to people please with my art was a direct line to complete meltdown, writer's block situation, and I had to look inward before I could move past it.
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