A Quote by Diana DeGarmo
Southern women sometimes get dumbed down when they're turned into characters. I don't like that.
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I turned down 'American Gigolo.' There are many films - like 'Ghostbusters' - that I turned down... The first one I did was 'Foul Play' with Goldie Hawn, but I turned down 'Animal House' - I turned that down.
The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.
There's something about Southern women that is so unique yet so universal. Strong southern women are allowed to be soft and feminine and have a sense of humor. But what I love about Southern women in particular is their universality.
Southern food that appears in contemporary popular culture is so exaggerated that it's hardly recognizable to most Southerners. This enriching of Southern food - fatter, richer, more over the top - is what we typically see on TV, in Hollywood films, and in Southern-style or country-themed chains like Cracker Barrel. Southern food becomes a caricature, like characters and props in a reality TV show.
We have had people for so many generations dumbed down, literally dumbed down, who are now in positions of awesome and extreme power with influence over others, that we're paralyzed. And, if we're not paralyzed, we are backtracking and moving backwards. We are actually regressing, I should say, from magnificent progress that we as a nation and a culture and society have taken over hundreds of years.
Can I play a southern character? You betcha. Can I do the voice of Tourist Dad and Carnival Barker? Ya betcha. Can I do Fix-It Felix? Ya betcha. But I don't want to just play southern characters, so I hide it; I bury it. I tamp it down like a secret. Like a dirty little secret.
If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.
Sometimes when we get our ass kicked and we're down, sometimes we stay down, and sometimes we get depressed and sometimes we don't know how to handle it, and sometimes we don't know what's going on, and sometimes we feel like it's not worth going on.
You have to lay down in the center of the action lay down and wait until it charges then you must get up face it get it before it gets you the whole process is more shy than vulnerable so lay down and wait sometimes it's ten minutes sometimes it's years sometimes it never arrives but you can't rush it push it there's no way to cheat or get a jump on it you have to lay down lay down and wait like an animal .
I think that's the kind of women that people are interested in. They're interested in strong women characters who are stronger than the male characters sometimes, in some ways. That's what's interesting and attractive about women.
Sport industry is not women versus men. My biggest champions a lot of the times in my career have been those men. Not that women necessarily wouldn't, but if there are no women in the room and the door is locked, it takes a guy to unlock the door for you and let you in. We have to get better at working together in that regard, as opposed to feeling like we need to crash the door down. You don't need to bring out the ax; sometimes you can just knock. And sometimes guys will open the door for you, but for so many women who felt like they had to fight so hard, we forget that they may be allies.
I've had battles with writers who live in L.A. and were writing southern characters, because they felt like if they wrote 'Sugar' and 'Honey' at the end of every sentence, that would make it southern.
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work.
I like Bret Easton Ellis' sense of humor. I feel like mine is sometimes similar to his. And how his characters sometimes seem really confused in a humorous manner. I like that. And I have that sometimes in my characters.
The past is interesting to me because it's been dumbed down or flattened out, or academically nitpicked so you can't get any life out of it, you just get data.
I'm really drawn to comedy. I grew up in the South, so I'm drawn to all things southern, so my role in 'Getting On' has been fun for me to play something southern - I always feel like I understand those characters more because of where I was raised.
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