Sarah Paulson Quotes
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Your mind knows your pretending, but, in terms of the adrenaline and the fact that you are actually crying, and that you are that upset, and you are screaming, and you are simulating terror, your body does not know that it is not real. Your body feels really wrecked afterwards.
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To not have any hope is where things start to get really bleak. Things are possible. The impossible can be possible.
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I could feel my body temperature - I knew I was bright red. It was so humiliating, I was so upset, and it was nothing I had planned to do. It was just one of those beautiful moments, the alchemy of acting that is so mysterious, where you sort of go, "How did that come out of me?"
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I played a lesbian reporter in 1964, who was incarcerated, and ended the series as a 75-year-old woman. And then, I was a witch blinded by acid who became the Supreme, and took my mother's energy and life, so that I could live and she would die. And then, I was conjoined twins. And then, I played a heroin addict.
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In fact, there's an entire universe out there that's pretty much indifferent to struggles that big, no matter how serious they've been in your life.
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It's OK to sit in the Golden Globe room and look around and think, 'Oh, Helen Mirren's a loser tonight, so is Nicole Kidman. Meryl Streep lost tonight. Jessica Lange didn't win.' If you're gonna be in the company of losers, that's the company to be in.
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The idea of being on a show where each season stands alone, and you can come back the next year and show an entirely different aspect of your personality or your talent or your anything is an enormous gift that you rarely get in television.
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I had gone away from Twitter because before people had been so mean to me. Talking about my lisp and my enormous forehead and all these things. I do have a lisp, I do have a forehead I know you could land a plane on, it's no mystery to me. I just didn't have the skin for it.
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I'd love to be in the '70s. I'd love to have a big, long wig parted down the middle with flat-ironed hair and bell-bottoms. They're actually very flattering for my figure. The wider the leg, the better for a person with a booty.
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I like the ritual of putting on my makeup, putting on my costume, doing my warm-ups. I eat the same dinner every night before I go on stage. I like having something that I can count on, something that feels stabilizing for me.
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I remember feeling the temperature change the first time the curtain came up, the difference between the audience temperature and the stage temperature. I'll never forget it.
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I'm interested in telling the character's story, not my beliefs, political or otherwise.
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I personally think it would be a very liberating thing for women to allow themselves to understand that having it all incorporates sacrifice. It does mean that you can't be everywhere all the time. It does mean that your friends are not going to get all of you.
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We're still at a point where women [directors] aren't allowed to be mad visionaries. We have to prove beyond a shadow of a doubt that we're responsible, that we can handle it, that we've got all our ducks in a row . . . most women who direct always come in on budget, always come in on schedule, and if they were wild and irresponsible it would not be put down to brilliance, but to a general flakiness.
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I was a victim of what most people are a victim of, which is really, really just gulping down what was being fed to me by the media.
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I was constantly, always and forever, trying to perform the musical 'Annie' for anyone who would listen, and I have a terrible singing voice. It was the first thing that made me think I wanted to be an actress.
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I could never have thought, "I wanna play a two-headed woman." That just never would have occurred to me, in a million years.
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To me, most of life kind of lives in the grey and I don't just mean morally. I just mean kind of everything. If things were black and white it would be a lot clearer as to what to do all the time.
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When I have brown hair I feel the most like myself, but I don't feel glamorous. It's a disgusting thing to admit.
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It's been really important to me to create moments where there's a breath or moments where there's a laugh or moments where there's real life that's allowed to seep in through the cracks of whatever melodrama is happening, because that's what does happen in life.
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I think it's a universal thing in every family, that people have their own specific versions of pivotal events or even small memories.
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I work in the '60s more than I've done anything else. I did a movie, called Down with Love, in the '60s. I did a movie for HBO, about the Johnson administration in the '60s.
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I like that feeling in your brain when you've got seven things that you're holding in one moment-you heard that person cough, you heard that person laugh, you're also saying your line, you're also listening to the person who's talking to you.
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I've always known that I've wanted to write, but I always saw myself doing that in the context of something other than film, so it was a really beautiful and kind of perfect moment in my life when I realized that I could combine this idea of wanting to write and tell my own stories with the environment I had grown up in and knew well - that I could make film as opposed to writing being a departure from what I knew.