Carol Kane Quotes
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In my experience, each project is what it is, and nothing is necessarily a turning point.
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My first movie was with Mike Nichols.
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That's when the great stuff happens, when you're not checking yourself all the time, being critical of yourself and what other people are doing.
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Sometimes every single element of a character is a torturous discovery.
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I like the full spectrum of roles.
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When I had my dogs, I used to spend a lot of time in Central Park, which is a great place to be alone among a lot of people.
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'Hester Street' was my most complete character study, but 'Annie Hall' and 'The Last Detail' were also great.
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I took parts that either I was offered or felt I could do a good job with.
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I know that I'm in the minority to be able to keep working all these years. But I want more!
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This is a grueling profession. Either you can't get work, or you can't get certain kinds of parts, or you get a part, and it kills you because it's not good enough, or you get successful and feel guilty about it.
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New York, to me, even though I grew up here, there's something magical about it. I remember, every time I used to go to L.A. for work, when I'd come back and get off the plane and be driving towards the landscape of the city, I'd be beside myself with joy. It doesn't matter how many times!
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And my first film was Carnal Knowledge, another amazing experience, largely because of Mike Nichols, who would tell me you can't do anything wrong because you're doing everything right.
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I don't like to discuss my work in a lot of detail; I'm afraid of dissecting it in a way that is not good for me.
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It's hard to regulate the speed at which you can achieve something creative and emotional.
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In high school, I did the 'The Tempest' at Lincoln Center for Joe Papp.
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I didn't decide to be a character actress.
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When you're doing a legitimate play, if you have a company of 12, it's considered a big cast.
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For very few people is there a time when you, quote unquote, make it.
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In my job, I worry a lot and try and stay calm and open. It sometimes works.
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'Hester Street' was an incredible opportunity for me. That script was such an incredible script.
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You just can't make bad writing look good. But if you have good writing, you just say it, and it's almost done.
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My preference is for really good writing, and I just really don't care where it is.
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An actor really suffers when the director isn't prepared because you start running out of time for the shoot and then have to do it fast.
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I think most actors are very impressionable, and that's part of what we do is soak up other's behavior.