Ellen Burstyn Quotes
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We can all live longer, better, than we ever could before. You don't have to retire.
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I've always wanted to work with my friend Al Pacino.
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What happens is you submit your script with an idea of what the budget might be, and the financier will offer you less than that. In order to do it for less, it means cutting out the art, usually.
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I've lived most of my life in Manhattan, but as close as Brooklyn is to Manhattan, there are people who live there who have been to Manhattan maybe once or twice.
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It's interesting: John Calley at Warner Bros. helped me put 'Alice' together. It was very unusual back then for a studio to support an actress the way he backed and supported me. He even asked me if I wanted to direct the film, which I didn't feel prepared to at that point.
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There was no such thing as child abuse. Parents owned their children. They could do whatever they wanted.
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It's about avoiding reality through various escape routes that become addictions and lead to Hell. My character is addicted to television, chocolate, coffee, to her dream of her son, which has no basis in reality.
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The interesting thing about doing a play is to find a way to make it fresh and do it as though you were doing it for the first time.
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When we did 'The Last Picture Show,' the whole cast was unknowns, and we all got careers from it. Well, I don't think this could be done now.
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With 'The Last Picture Show,' Peter Bogdanovich brought the script to the company that made it. They liked it, and they gave him the money he needed to make the film. He cast it with the actors that he thought were right for the parts. Now, it's the reverse.
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Nobody would want to leave that film to go get high.
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I've never done anything in my career that has gotten as much attention as 'House of Cards.'
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What a lovely surprise to finally discover how unlonely being alone can be.
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I'm interested in the cosmos. I want to know what's out there and how connected we are.
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Today, people like Reese Witherspoon and Meryl Streep have vowed to improve the opportunities for women, but those promises are still unusual.
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So I was at the Actor's Studio, thinking about this, and I happened to glance over to the other side of the stage and I saw the ugliest chair I have ever seen. And I thought, 'Well, I could kill that chair!'
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I left my career in Hollywood, moved back to New York, and went to Lee Strasberg and studied with him for the rest of his life.
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I eat healthily and exercise, and I'm not giving up and saying I'm too old - I'm just determined to keep on marching with enthusiasm and interest and curiosity.
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I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.
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Their life is about getting enough money to put food on the table to feed their children, and that's it.
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I feel eager to learn as much as I can, not only about my craft but the world and the cosmos and how we got here and whether there's any purpose to our being here.
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With all the awards I've won, you'd think that I'd at least be able to make a living. It's a really terrible situation.
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I was doing the work I was capable of doing with my own native talent, but when I looked at actors like Marlon Brando, Jimmy Dean, Kim Stanley, and Geraldine Page, I knew that they knew something that I didn't know. I wanted to find out what that was.
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When I was 19, I took a train from Houston to New York, and I had in my lap the collected works of William Shakespeare. The play I read on that journey was 'Titus Andronicus.'