A Quote by Rachel House
It still surprises me when I get cast in something. I'm not your, you know, I'm... I remember thinking really early on that you have to look a particular way and I'm quite aware of my look, so I always thought I wouldn't get a lot of screen work.
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It was never a marketing tool. People say that, but I dress this way for the same reasons I did when I first started doing it. It still comes from a serious place inside of me. I get up in the morning, and I think I just look better a certain way I do my makeup. I want to shine, I want to glitter. I'm not getting up thinking, "Oh, this'll get 'em." And I'm not doing it to make a statement. I'm just doing it to look like Dolly - the Dolly that I know and the Dolly that you know.
I remember when I got the part in Gentlemen Prefer Blondes. Jane Russell - she was the brunette in it and I was the blonde. She got $200,000 for it, and I got my $500 a week, but that to me was, you know, considerable. She, by the way, was quite wonderful to me. The only thing was I couldn't get a dressing room. Finally, I really got to this kind of level and I said, "Look, after all, I am the blonde, and it is Gentlemen Prefer Blondes!" Because still they always kept saying, "Remember, you're not a star." I said, "Well, whatever I am, I am the blonde!
My job with Sue on 'Bake Off' was to look after the bakers - and to be honest, a lot of that was done off screen as well as on screen. It's very much the same on 'Let It Shine.' You get to know people, you get involved, you want things to be alright.
I'm quite severely dyslexic so I struggle with acting in certain ways. I always have to put in triple the amount of effort, which would always frustrate me a lot. I suppose that some people can just look at a script once and know it. That's not me. I really have to spend a bit of time with the lines. But it's my job and I've got better and better at it. If you're learning a lot, things start going quicker. Doing the lines with repetition and you just get it in your head somehow.
I can look at my early work and see what a pained struggle it was to draw what I was drawing. I was trying so hard to get this specific look that was in my head, and always falling short.
I'm always astounded that people know who I am and what I do. I still have a lot of anonymity and that's good. I don't get bothered in restaurants and stuff like that. But when I'm at events that are really geared toward animation fans, they know who I am. And I'm so very pleased and so flattered by it. People are extremely complimentary to me, and that only encourages me to continue to do more really good work. I get paid by the studios, but I know I work for the fans.
Models have a stigma that they can't act. You're also, to be quite blunt, you're tall and not a lot of actors are tall and when you are starting out you're obviously not the first one cast, so you're trying to fit into a mold. You're quite often not cast as the quirky best friend, but you don't have the experience to be cast as the lead. So it can be really tricky. One of the biggest things is just to get your people, so to speak, your agents and managers to take you seriously. That's one of the issues I had when I came out to LA.
A man is an island, but the water is deep
And the shore on the other side is ragged and steep
To look for perfection is a lonely old ride
It takes a whole lot of courage and a whole lot of pride
When you look for independence and you get what you want
How come you look back, thinking what have I done?
But time and again, it dawns on me
It's the price we pay for liberty
I should have know, we all need a place to call home
It's kind of a crazy thing with kid actors because a lot of them get hired without people really knowing if they're good or not. They get hired for the way they look at a really young age. You also have your fingers crossed around kid actors... because the lessons they learn on set aren't always the best. You can really get whatever you want.
Nature's Moods The water is always changing and whenever you look at it you get something back. I'm sure the water isn't aware of me but I'm very much aware of it. Living by the water means constant company.
The camera can capture thought in a way that's quite surprising and shocking. You can become very simple and minimal in your work and communicate a lot with just a finger or an eyebrow, or a look, or a glance.
For a young cartoonist, they have to get going on the web, because that's where everybody goes for their information. And it really works. If you look at a cartoon on a computer screen, it really jumps and can be quite effective. I draw cartoons now, not how it will appear in the newspaper, but how it will appear on the screen. I think most of us do. Now the challenge is to make it move and animate it in a very fast, quick way.
I always thought I'd go to university and then get a real job, you know. Now I want to do stuff that really makes me happy. Although I'm still trying to work out what that is. But for me there are always constants.
We're bombarded with images. Take the time to stop and look at something then connect with them and maybe they're thinking the same thing, I used a lot of devices to catch the eye of people who have seen a lot of stuff, having worked in advertising and in editorial. I have learned to get someone to stop and look at something, that language.
Girls get the message from very early on that what's most important is how they look, that their value, their worth depends on that. And boys get the message that this is what's important about girls. We get it from advertising. We get it from films. We get it from television shows, video games, everywhere we look. So no matter what else a woman does, no matter what else her achievements, their value still depends on how they look.
I think I'm open to adventures and surprises. As a performer, I'm really just naturally talented. And those roles may not look as good on paper, but I know how to create them on screen. I like to have fun and interpret my roles in my own way.
