I want to go and have a real experience and it's just lovely to sit and watch a movie and just be really transported by a story and care about the characters. That's always what I'm looking for.
Sometimes you just feel so fortunate to be in the company that you're in and you just want to soak it all up.
I feel so lucky to have done so many things that I love in the past few years so I'm just going to keep trying to do them.
I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your "moment," or whatever. The story is a lot bigger than you, and you're there to help it along. The thing to think about is whether what you're doing is true to the moment and where the story's going, rather than going, "Here are my scenes. What can I try and do to make the most of them?"
I don't think I've played a lot of crazy people. If ever I had a choice between two movies, I'd try to do whatever was the opposite of what I did last time.
Even though it's still, annoyingly, something everybody feels the need to bring up to anybody who doesn't look like a model, there are more women now who are super successful and have different body types. You know, like men do. That feels like progress to me.
Honestly, I think if I had to stop acting I'd be like, 'Well, I guess I have to go live in the mountains now.' I'd probably be a good assistant.
There's a rhythm to script [ in "I Don't Feel at Home in This World Anymore"], as well, especially the pacing of it. But there definitely were times when I would say something and [ Macon Blair] would say, "I didn't think to deliver it like that" or, "I didn't think it had that meaning." And he'd say, "I like it. I think it's good." So he's open. He's not battering it into you.
I always like [while filming] to have a sense of what led this person to this point.
I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it.
For "The Intervention" I came up with a back-story and Clea [Duvall] was like, "No." And I was like, "I don't care."
I talked with [ Blair Macon] a lot. I always like to come up with it - sometimes the filmmaker is not into it at all.
I feel like I'm always put with someone who's like, "Come on! Please be happy!".
It's always nice for me to get to explore somebody who's feeling that and then does something with it and takes it in a different direction or does something with it. It feels very powerful. It helps me with my own.
I've had a lot of struggles with depression. It's very easy for me to go to a bleak place, or for me to doubt humanity, myself, the world, my choices.
I'm pretty active, so I wasn't really worried [about filming "I Don't Feel at Home in This World Anymore" ]. But there was a day when I was like, "God, I've been rowing for two hours."
It's good to feel tired at the end of the day. It's not often as an actor that you're like, "Oof. Ow. I feel like I've been out working."
I felt like the script [of "I Don't Feel at Home in This World Anymore"] was so clear. It was sort of packed full of information. [Macon Blair] puts in a lot of discussion in the script. Characters are introduced very thoughtfully. The way he described walking into particular environments was very specific.
Even just reading "I Don't Feel at Home in This World Anymore,"I got a sense of the world and the story [Macon Blair] wanted to tell. And then I had a meeting with him and understood how he likes to work. I really trusted him from the beginning.
Some scripts are pretty sparse.
People have something on their mind. It almost feels [on marches against now-President Donald Trump] like after-tragedy. People seem sort of preoccupied.
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