A Quote by Nia Vardalos
I had worked for ten years in theater; I had worked at Second City in Chicago. Then I got to Hollywood, and I was like, naively, 'Where's my pilot?'
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I was an aid worker for a decade and then worked in the voluntary sector in the U.K. on U.K. child poverty and with the NSPCC and Save the Children. But I had worked for ten years with Oxfam.
I believe in God. I got down on my knees and I said, 'I get it. If this isn't for me, then it isn't for me.' And then a week later, I started working. I worked on 'The Following,' I worked on 'Elementary,' I worked on a pilot and then I got 'Orange.' So literally from that moment of deep surrender, that's when you're blessed.
I worked at Dollywood when I was a kid. Then I worked at Opryland. I worked at a variety of theater things in Atlanta. I was also in a choir for two years where we did 'Annie' and 'Joseph and the Amazing Technicolor Dreamcoat.'
My mother worked in factories, worked as a domestic, worked in a restaurant, always had a second job.
The director of the [Grimm] pilot called me in. I had worked on a pilot called Love Bites with him, and the producers I worked on with on Hot In Cleveland, so they knew me from comedic worlds, and they wanted someone who could be light too. Because it is pretty heavy.
I probably worked every single entertainment medium, including some that don't exist. I worked the circus, carnival, I had my own medicine show, I worked 18 years of radio.
Scapegoating worked in practice while it still had religious powers behind it. You loaded the sins of the city on to the goat’s back and drove it out, and the city was cleansed. It worked because everyone knew how to read the ritual, including the gods. Then the gods died, and all of a sudden you had to cleanse the city without divine help. Real actions were demanded instead of symbolism The censor was born, in the Roman sense. Watchfulness became the watchword: the watchfulness of all over all. Purgation was replaced by the purge.
My first improv was Second City in Chicago. Before that, I worked at - with a partner, doing comedy sketches.
'Vanity Fair' did this grid thing a couple years ago, connecting people who've worked together, and I had the most branches on it or whatever, because I'd worked with so-and-so and so-and-so worked with so-and-so, and I was kind of in the middle.
I hadn't worked for a year when I had my Prison Break audition and it was the easiest audition I've ever had. I got the script on Friday, went to the audition on Monday and got the part on Tuesday. I was shooting the pilot a week later. I didn't have time to be nervous - it happened so quickly.
I had never worked in television before 'Freaks and Geeks,' and 'New Girl' is the first time since that I've worked on a series that is actually a series and not just a pilot.
I had never worked in television before Freaks and Geeks, and New Girl is the first time since that Ive worked on a series that is actually a series and not just a pilot.
I majored in theater in college. I did a couple of plays in high school, and I really enjoyed it, so I went to Illinois Wesleyan University and got a degree, and then I went back to Chicago and started doing theater in all the companies around the city for about 11 years before I moved out to L.A.
I think if you worked at the community level in Chicago and then a politician on the South Side of Chicago, and worked at the state level, then you're pretty familiar with all the variations of politics in the African American community and criticisms you may get. If you're not familiar with those or you don't have a thick enough skin to take it, then you probably wouldn't have gotten here.
My husband and I oddly have worked together a couple of times. We did a 'Veronica Mars' episode together. We didn't work together, but we were both in 'Ghost World.' We had a theater company in L.A., for a bunch of years. So, we've worked together a fair amount, and it's always just great fun.
In actor's career, I had a fair amount of denial, which I think is possibly in the genes, where I just couldn't go to, "Maybe this won't work out." I just couldn't do it. My mind just refused to go there. I don't mean there weren't low periods. There were plenty. But I remember arriving in New York and I was maybe 32, and I didn't have an agent. I came from Chicago, where I had gone to school and worked and got my sea legs, so to speak, and I remember walking out of the subway, walking the streets, standing in front of the theater and saying, "I will work in this theater."
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