A Quote by Liza Weil
I think, when people so strongly associate an actor with a character they play - but the main feeling is I feel very happy that I've been able to play somebody that people connect so strongly to. That's overall a very good feeling. There's the sweet and the sour, I guess. It does sting a little bit. Your insecurity as an actor maybe seeps in, but ultimately I think it's a very lovely thing. It doesn't happen that often. It's mostly good, I'm fine with it.
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It's a lot of feelings, I think, when people so strongly associate an actor with a character they play - but the main feeling is I feel very happy that I've been able to play somebody that people connect so strongly to.
It's fun to play a dark character, but you go home at the end of the day not feeling very good about yourself. You go away feeling dirty. It seeps into the air.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
[on playing Walter] It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor. It was like everything you could possibly hope for, over five years. So, I was a very lucky actor.
I think the best mood for writing is a heavy feeling that's a little bit removed from you. Sometimes I feel very self-indulgent and bratty and ungrateful, and no good music comes out of that. But sometimes I can be really sad or have an excess of feeling yet somehow be able to see the big picture more.
I was born very, very lazy and I don't always practice very long. but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of 'Oh, I know this,' you play without that little drop of fresh blood that is necessary – and the audience feels it.
Michael [Douglas] is, I think, a great actor. He's made some very interesting pictures. When he was going to college, I was very proud of him, but when he said, 'Dad, I want to be in a play,' he had a bit part. I went to see it and Michael said, 'Dad, how was I?' I said, 'You were terrible.' I thought he would go on to be a lawyer and in three months, he was in another play and I went and, I must admit, he was great. I think he has been good in everything he's done.
I guess every character has a little bit of the actor - I guess for every character you play, the actor has to allow a little bit of their own character to show through.
The best feeling is when you are remembered for the character you play on the screen and people associate you with that character. There is no better feeling than that feeling.
I think that the most important thing for me is, how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor. Also, a good director and good dialogue.
I do feel very strongly that this is one of the things which people need encouragement to sort out, because I have this very strong feeling that everybody is probably a genius at something, it's just a question of finding this.
I think every actor tries to put a little bit of themselves into each character, and I think if you watch very closely, every actor has a bit of himself in every role whether they want to admit it or not.
In life I've learned one thing; if you want to be good you have to connect with the best people. So I got very close to the high-stakes players here. I get to watch them and play with them a little bit.
I'd be very suspicious of anybody that seems to have to move to the next level of expression. I distrust that: now I'm writing a book, now I'm being an actor. It should be a natural thing. I think it's a natural thing for you to act. But I think that people that feel that, because they've written one maybe quite beautiful love song that equips them to play Romeo, is probably misguided.
I feel very strongly about contraception even though I know people say that, as a good Catholic girl, I shouldn't. But I disagree because I think one of the keys to women's progression in the 20th century is being able to control their fertility.
It's the hardest thing for an actor not to speak because you take away their main tool. So for an actor, it's very frustrating and very challenging, and very few people can pull it off. Some actors can say a thousand words with just a look, and it's a unique gift.
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