A Quote by Emily Mortimer
I like to mix it up, yeah. I don't sort of think, 'Oh, I need to do a comedy, I've done three dramas this year.' I don't think of it like that, but I definitely from project to project I feel like I want to just do something different all of the time and stop, I don't want to bore myself or anyone else.
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I'm asked all the time, 'Doesn't it feel great to finish the novel?' And the answer to that is, 'No.' It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination.
The main reason for choosing a project is not really the renown of the director that's making the project. I feel like it's the fact of an actor to constantly want to do different things.
You look at anything, and you're like, 'Is this as good as 'Breaking Bad?'' It took a while for me to stop comparing every project that comes my way to that. That's one of the reasons I wanted to do 'Life in Pieces.' I just want something that's a 180. I just wanna do something completely different.
When I do photo shoots for men's magazines, I don't do lingerie, I don't do skimpy bikinis because I feel like, for young women, setting the standard of you can be sexy as hell, but you don't have to have your ass hanging out. Just me personally, I just don't feel that its necessary to project sexy. I feel like I can project that from the inside out. I can wear something a little sexy, but I don't need to take it to that next level.
There's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point. It's like a 90 percent chance for each project that it'll never happen. Every project has about a 10 percent chance of getting made, unless you're like a Quentin Tarantino or somebody who just gets whatever they want to get done. But those are the rare cases.
I never think of a project as just being comedy or just being drama - even with 'Masters of Sex.' I like being sort of messy, like life is.
Some writers are writing one great, big book and just taking all these different avenues towards it. They might seem on the outside to be different, but they're really not. And that's a different kind of mindset. I don't know why it is, but I just feel like I really want to escape myself as much as I can - myself as the artist, or as the writer, or as the thinker - with each new project, because one, it's just boredom, but also, I guess I just feel most comfortable starting a new book if I just feel a little in the dark about it.
The first time I actually heard any of the Beatles' music it was in a car. I think it was the, the B side of their first record. I think it was "I Want to ... I Want to Hold Your Hand". And it, it really sounded different to me. And it sounded a bit like trouble, like this is something new 'cause I very rarely paid any attention to what anyone else was doing.
I think anyone can bake, but I don't think I can bake well. I sort of feel like baking is just, like, chocolate and butter and sugar, and that is always nice, so I think anyone can bake, you can put those things together, and it will come out all right. The next level of that, I definitely can't do.
I'm apologetic when I feel like I've made a mistake. And when I have done a disservice to myself or someone else. But I don't feel a need to apologize for doing or saying something that I think needs to be said, just because it may not sit comfortably with somebody else.
I'm asked all the time, "Doesn't it feel great to finish the novel?" And the answer to that is, "No." It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination. The people who I've lived with for 10 years in my imagination are now sort of defunct. To lose them is rather a mournful process - it's not a relief.
I don't want to compare myself to anyone else, but there's Paul Smith, who I think does a great job. I feel like once I sort everything to the best quality, I'll be able to compete with them.
I definitely am the kind of person that fluctuates up and down. I work really hard for a certain project and then I'm like, 'Oh, I'm done.'
I feel like whole idea with makeup is that I don't want anyone to think, 'Oh she's wearing makeup.' I just want them to think, 'Oh she looks good!'
Fans don't know what they want. Fans are like, 'Oh, I want the stuff that you did in the last album because I really liked it, and if you don't do that, I'm not going to be your fan no more.' Or they'll be like, 'I didn't like that project. He doesn't sound like him on it,' or 'You're wack. You're mainstream now.'
Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.
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