A Quote by Sutton Foster
I don't know, think for that relationship in particular age doesn't really come into play.
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I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.
It is very difficult to know exactly what good should come out of a particular situation. To attempt to manipulate circumstances so your idea of good can come about, is to let the ego play God-and that, as you know, can and does backfire.
Once in a while, when I'm alone, I think about my age. I think, How many more years do I have on this earth? But I can't really conceive of dying. Somehow, in my head, I don't think I'll die. I know that everybody dies, of course. I just think that it'll never come to me. It's crazy, but there it is.
I think when you come off the bench, you know you're going to play, but you don't know really when, what time in the game, what quarter, so it's kind of different.
I was raised with a single mom and we had a very specific, very particular relationship. She worked with me and my job. I was almost three and we traveled everywhere together and she was really in my life in a really profound way. The most significant relationship of my life. It was beautiful and also an incredible, difficult struggle. I know how creative that life is, and how difficult it is to figure it out.
Age is a very psychological thing; I do not know how old I am if you ask my age. Age is calculated by when you get born, but I do not agree with that parameter. I sometimes feel like 25, sometimes 12 and at times 40, and I love that about myself as an artist. I am not stuck to a particular age.
I don't practice per se. I learned to play on my own, taught myself how to play. I've never really had a lesson, and I don't read music. So all the stuff that I do doesn't come from the normal set of disciplines that they teach you where you sit down and run through scales for a particular number of minutes a day.
I think I will always feel a special relationship with The Umbrellas of Cherbourg, because for me it was something very, very special. It was a modern opera, and to play the heroine in a film that became such a success at a young age, and learning from him when I was so young and impressionable - really it was one of my most important experiences.
I find it hard to work with other musicians because I know from experience that when they play, they play with their feeling, and that restricts me because I know I want to play in my own particular way.
I think it's very difficult to generalize as to why, in a particular league or a particular industry, somebody has or has not come out. We certainly don't want a player to come out for our sake. It should be what's right for him and something that he has to be comfortable with.
But do you know how old I will be by the time I learn to really play the piano / act / paint / write a decent play?" Yes . . . the same age you will be if you don't.
Where I come from, you don't really dance, you know. I think I was at the age, where, I suppose, I wanted to do what all me friends were doing. I gave up dancing for a while, and then I realised I wasn't as good at football as I thought I was.
One thing that I don't think I do is play characters. Once you start claiming that you can do something that you're not, you're crazy. I think scripts can really surprise you. You go, "Wow, I did not know that that response could come from me. I did not know that I had that in me." And so, the process of making the movie is just finding that and digging a little deeper.
I think kids in Europe have developed a deeper knowledge of music and of black music in particular. You go to Europe, and these kids know about all this obscure funk and soul that kids over here wouldn't know. I think it's getting better in the States, though, with the age of the Internet.
I've come to learn that what really matters is the relationship, the quality of the relationship.
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