American - Actress | June 16, 1955 -
I'm not trying to blow out a camera lens or make the audience's hair go straight back from my sheer volume, sheer energy level.
Laurie Metcalf
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No matter how many times you've done it, the early stages of getting a show up on its feet is very hit and miss. There seem to be thousands of options on every page to discover.
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I wasn't turning down film roles, let's put it that way. I was never really on that radar.
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I gravitated back to theatre again, and when I heard about this little independent movie called 'Lady Bird,' I thought, 'This will be a project where I can dip my toe back into the water.'
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I had accidentally gotten a laugh on a line in a play I was in during high school. I got hooked, but I had no idea I would ever be able to support myself by acting. I knew no one in the business. I was from the Midwest. No one within a radius of a thousand miles was doing anything like that.
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A dream job is to walk right past hair and makeup.
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I was always a secretary in the early days, before we decided we were brave enough to join Equity and see if this thing has any legs.
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I like contemporary, bare-boned writing. I don't like having the language that I barely understand get in the way of me interpreting it over to an audience. It's this barrier that I don't want to have to attack.
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I am a kind of competitive person. I am competitive with myself. I won't let anything go until I am satisfied with how it is.
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'Three Tall Women' is kind of fascinating. I had never seen it itself, and I imagine the audience will find it very intriguing to watch the reveal of who these people are and how they interact in the second act.
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I don't like the camera. I get very self-conscious with it and then spend way too much time not looking self-conscious instead of being free, as I do on stage, to do my work.
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That was the beauty of 'Roseanne' and Roseanne herself. It could go dark; it could do issues.
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