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I was thinking in the cab on the way here that when I did press for the original production it felt like this was what I’ve always dreamt of — to be talking about myself, and about a play that I’ve written, and to be photographed. It was what I wanted. Now it’s just part of the job.

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I’m doing this role because tons and tons of people are going to see me and it’s just about being the spotlight. And I’m not saying that that element is completely erased, the enjoyment, and the moment of being in front of a whole bunch of people, but not for the sake of becoming famous.

I had to use my wits or else I'd have been sunk - and nothings going to sink me. Everyone was always pulling at me, tugging at me, as if they wanted a piece of me. It was always, 'do this, do that,' and not just on the job but off, too. God, I've tried to stay intact, whole.

When I arrived, a hundred women were there [auditioning]... I raised my voice three registers, curled up in a chair, licked my hand and did ‘meow’s ,the director said, "I didn’t tell her to do any of that stuff" – but the next day I got the part. Caesar Romero, Burgess Meredith, I was so lucky to work with all of them.

It was a tough job [the 20 prints of his 'Chassidic Legends']; I have been working effortlessly and incessantly [during 1941-1943]. But it was fascinating and the job gave me also relaxation. Now that it is finished, I can look back on it as a part of my life. I am happy that I have been able to accomplish the work, although there will come critical comments too. You can not escape that, even if you are doing your best best.

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