Tatiana Maslany Famous Quotes
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You're working with adults and you're being paid to do a job. And you're a kid. Then you go back to high school, and everybody's partying, and they're doing math. I always felt a little bit outside of it. Outside of both experiences, really.
Going to set, every day, and working with the incredible actors I get to work with is fulfilling. I've been doing this since I was nine years old, so it's always been something that I've been passionate about. It's always fed me.
The most bizarre demographics come up to me. Men in their 50s come up to me and are like, "Alison is my favorite. I hated her at first, and now I love her." I don't know what that says about people's psychology.
Dance has always been a really important thing for me, so being able to physically express the characters through music and dance is like another layer to things.
I grew up in Canada, man - we all had rinks in our backyards because we'd ice down the grass with a hose and build a skating rink.
Going back is a nice way to give definition to each of the characters because they are so vastly different. I would never want them to get blended together.
I think Amy Poehler and Tina Fey have done so much for women in comedy in the sense that they've normalized it. You don't think, 'I'm going to watch that comedy starring a woman,' you think, 'I'm going to watch that funny show.' They refuse to play the foils for men, or be reduced to the butt of every joke, and I love that about both of them.
Robert de Niro has always been fascinating to me. And if John Cazale were still alive, that would be a man I'd love to work with. I'm a big fan of Paul Thomas Anderson's films - I would be honored to work with him. I think he's a brilliant director, and he gets such compelling stories out of his actors and out of his crew.
It's the reason we go to films and watch television: to escape the mundane nature of life and see another world and see ourselves in that other world. I think that's what sci-fi does so well.
My mom's a translator, my dad's a woodworker; that's the world I grew up in, that's the world I'm most comfortable in. The whole idea of Hollywood or any of that other stuff that unfortunately goes along with film, that wasn't part of my upbringing, thankfully.
I'm so inspired and stimulated by the work that it doesn't ever feel like work.
I'm at the transition place myself, still playing high school girls but moving to a stage when I'm playing older roles and going to the places of stillness and wisdom and knowledge and weight. It's exciting and scary.
I have a collection of vintage sundresses, and I've never worn them because for some reason I always opt for shorts and a t-shirt. I wish I could commit to them. I will. I have a few really great pieces I've been holding onto for years.
I'm excited to work on something where I have a bit more time with it, to explore one personality. That's definitely exciting to me.
I transitioned into theater and acting when I was about 9, community theater and musicals, being, like, chorus-kid-number-78 or whatever. But I just loved it. As a kid you just crave attention, and early on I just felt it was so cool and fun to play around and have people clap for me. But eventually I grew up and fell deeper into it.
I like challenging parts, something I haven't done yet, something that scares me. There's just a feeling I get when I read a script that I love, I feel an attachment to it, a yearning to play that character.
Hype is wonderful when it happens, and you should capitalize on it. But you shouldn't bank on it being the thing that will take you to the next step. Because it's fleeting. The blah-blah-blah goes away, but you're still there.
For me, comedians are like the epitome for everything great, and they terrify me. I just want to be them. I want to be like them.
I'm incredibly close to my family. I have two younger brothers; they're both artists and actors, and their work and the way they see the world inspires me.
'Orphan Black' allows for people to have debates and theories and allegiances to different characters - to trust characters and hate other characters - but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling, in my book.
I am drawn to those parts; I like the tough girls because they are not tough. It's a veil; it's a disguise. It's defenses. At the core, everybody is human, everybody is fragile, everybody is terrified, and the fear is what propels you to be tough.
I've learned a lot about the limits of what I can do, as an artist, or what I'm willing to do. It's a lot of responsibility to carry a show and to speak to people on different levels.
Something like 'Rust and Bone' would be a dream. Very pared down. 'Orphan Black' is such a challenge. I just need something that isn't as full-on intense as that.
Sex isn't hard, but intimacy is terrifying.
It's wild to be seen differently and have more visibility, but it's rewarding.
We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.
I'm running on adrenalin when we're shooting. It's non-stop. As soon as I have time to sit down, then I fall asleep.
I haven't really done a lot of comedy. It's something that terrifies me.
I'd say I am more of a comfort person. I have Adidas sneakers that are my favorite thing on the planet. Adidas high tops with black jeans and a fur hat that I love wearing. I love vintage shopping.
Some of my favorite shows are ones where the characters are vile and human and flawed. That's what makes me want to keep watching a show, not writers telling me how to feel about characters.
Comedy scares me a lot. I feel like it's way harder than drama. I think my safety net is definitely drama, and I would love to kind of be able to be able to push into the comedy world and do something kind of like a Christopher Guest kind of style show. That, to me, is my kind of comedy. Like, Ricky Gervais comedy. That's my kind of thing.
Clothing and makeup and hair and all of that so much indicates the kind of person you are inside and the person you are presenting on the outside. Sometimes they are in conflict, and sometimes they are the same. That psychology of the exterior informing the interior is just so interesting.
My mom taught me German before I knew English. And I went to French immersion school.
I started out as a dancer as a kid; I've been dancing since I was 4. So performing was always part of what I was.
I like 'Futurama.' That's kind of the only thing that's my sci-fi thing, although I was big into zombies for a time.
How you go about moving within the world you live in says so much about who you are.
As artists, you always want to push yourself. There's always new territory.
The way people love sci-fi is how I love cartoons.
I loved filming in Morocco; it was amazing. I'd never been anywhere like that. The culture was phenomenal. I was so blown away by the spirit of that country.
Those darker sides, the things that we don't want to admit about ourselves - that's what excites me.
I have trouble sleeping, at the end of the night. There's a lot of stimulus and my brain is processing a lot of different arcs and personalities. I'm always processing things, so I don't sleep.
I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.
We're living in a world where the response is really instantaneous, even though it's delayed by a few months. It comes at you pretty fast.
That's my favorite kind of television, where it's not wrapped up in a pretty little bow. It's like life. You deal with one thing in your life, 500 others rear their head.
My brothers and I always did improv stuff in our basement with our friends; we're super nerds, and that was our way of spending a Friday night.
I was in a Nativity play as a kid. Back then, I played the donkey.
I was a dancer from about the age of four, so I was always performing and forcing my parents to watch my brother and I do 'Jesus Christ Super Star' in the living room. My first step was community theater, and then I started to do films.
I think being idle is quite hard for me to do.
You're hot for two seconds, and you're struggling to get work again. If it were easy, I don't think that's a good place for an artist to work from.
Young women are now looking at me for cues. That's definitely been a responsibility. But I feel like I was ready to take on something like this because I wanted to be challenged and I wanted to be afraid, and that's definitely what it's done for me.
I was on the improv team in high school, and after I graduated, I joined an improv company that had been established 10 years prior to me getting there. They did longform improv, and I fell in love with it. It's acting, character creation, collaborative, artistic expression and comedy - and it's scary. It was a big rush.
I would love to work with Gena Rowlands. I just don't know in what capacity. I'd play her daughter or granddaughter, or whatever. I would just love to work with her, in whatever capacity.
Just to be on set with Amy Poehler, who's one of my heroes, was a total dream come true.
I wanted to get everything right. I was super nerdy and academic. I got so much satisfaction out of getting good grades.
Music is like a lifeblood - it changes the way I move; it changes the way I feel about myself. The way I walk into the room is different depending on the song I was just listening to.