A Quote by Olivia Cooke

When I was filming 'Ouija,' there were some elements in that that really creeped me out. — © Olivia Cooke
When I was filming 'Ouija,' there were some elements in that that really creeped me out.
When I was filming Ouija, there were some elements in that that really creeped me out.
I went from basically filming in my bedroom by myself, filming some funny videos, and then overnight, I switched into filming in some studios and some warehouses and family homes. I started filming with directors and producers and editors, and there were so many people in the room, so it was definitely weird.
That film Memento creeped me out. I was looking over my back through the whole thing. I get more creeped out than scared, and spill popcorn all over the place.
That film 'Memento' creeped me out. I was looking over my back through the whole thing. I get more creeped out than scared and spill popcorn all over the place.
I get creeped out by Francis Bacon's paintings, and I can't say exactly why. They're all really disturbing, and there is an almost nimbus-like quality behind some of his frightening characters and stuff.
'Ouija' has a steady directorial hand, some attractive young actors who taking the silliness seriously, and few admirable genre elements. It renounces the faux-found-footage ShakyCam style, instead employing a traditionally smooth visual style.
This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise.
There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me.
We were filming the West Wing on the set one day in DC and Madeleine Albright comes by the set. I mean, when does that happen? You turn around and there's the former Secretary of State just sitting there. After the Clinton administration finished we were filming right outside the White House and John Podesta comes walking up while we're out there filming. Just strolling by the set - the former Chief of Staff! Things like that would happen all the time.
Wayne Wang, the director, really helped me become a more mature actress. When I first started filming, I was really over the top. He just helped bring me down and make me real. That was really wonderful, a really wonderful experience. Also, what I learned about filming is it takes forever. I mean, there are so many different angles and shots. I mean, it just takes forever.
For me, at some point, the idea of struggling through the process was not as interesting as doing tests and executing the painting after I figured out all of its elements and how they were going to work together.
I was very protective of my father and I didn't like these people who hung around outside all day. They creeped me out.
One of the beauties of intuition is that if I was interacting with someone that didn't feel right or they were kind of creeped out by what I was able to do, then they clearly weren't the right fit.
We all know the experience when you go to a film and it feels partial. There were elements that you really love, but it doesn't feel like they fully owned all elements of it.
When my TV show was in production, dozens of women asked me out on Facebook. Some were shy about it; some were blatant. Some I knew, some were total strangers. But they went for it.
My mother taught me to believe in ghosts: to use a Ouija board, have seances, and leave little offerings out for those who have passed.
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