Elizabeth Marvel Quotes
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I know all my tricks, and I'm pretty bored with them, so if that's all someone wants, I'd rather wait for TV money and not work so hard.
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Whenever I approach any character, I try to find examples to draw upon.
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You talk through what exactly happened to Howard Dean on the campaign trail, what Bill Clinton must have lived through, what the daily grind of doing what these people have to do. And they can never lose their temper, they can never be tired, and they can never slip up, or it's on-camera, and it's everywhere - and it's over.
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I see a lot of art; we see a lot of music, films at Sundance... that influences me and informs me more than theater just because I make a bigger effort to see other art forms.
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I'm dying for people to let me be funny!
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You know, the '80s, as crazy as the '80s were, that was a surprisingly kind and generous environment that I found myself in as a teenager.
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When I was nursing my son, you're up all the time during the first year, and you're sort of brain dead. So I'd find myself watching Turner Classic Movies at odd hours.
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I don't look presidential. I don't wear, you know, three-piece suits and have my hair perfectly coiffed.
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There comes a point in any project where you have to say - whether you like or understand the character, or the whole play for that matter - 'I believe!'
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Trying to find a way to represent something that is truly frightening on stage is a fascinating challenge.
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I think being a mom changed me, and now it's not just about what I want to do and what's sort of interesting, but what I absolutely have to do.
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We are in this amazing age of television where there's an incredible amount and an incredible quality of television, of long-form narrative.
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I think there is a certain gravitas about me. My energy can be very big and yet contained.
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I'm a hypervisual person.
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Every time I do a play, I'm like, 'When do I get to do the one where I wear a gown, sit in a chair, and say funny things?' I'd love to do that.
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There are lots of rats. It's a dirty little secret at the Delacorte Theatre.
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In some ways, I missed my era because I'm big and messy and have big feelings and take up space on a stage rather than being diminutive and childlike in my woman-ness.
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I've been around the block.
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I will happily work anywhere they need me to if they pay me well.
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I went to an art school in high school and got in a little trouble like you do when you're a teenager and not being closely supervised. I did. I followed the Dead around, and it was fun. It was great. It was kind and sweet and lovely.
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I think every actor has those performances they've seen, the person who made them realize that's what they wanted to do.
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If someone can make money from you, you can do more things, and eventually, you can do things you come up with.
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The first play I ever did was with Michael Langham, Brian Bedford, and Colm Feore, at Stratford Festival. That was my first professional job, and I got to work with Garland Wright and so many great artists.
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I get to play a lot of powerful, smartest women in the room. And that's deeply satisfying.