Julie Benz Quotes

I was at Pepperdine University in Malibu, and during my sophomore year, I played a dying burn victim on 'ER.' The makeup artist put burn makeup all over my body and I couldn't move or eat for 12 hours. I lost 8 pounds that week.

I like to work in films, but I'd love to work in the technical side of film. I'd love to work with, say, Greg Nicotero [The Walking Dead] in kind of, like, special makeup effects. I'd probably say, "Good with clay and latex." Although I don't know what kind of job that'd get me.

It was a challenge to be able to create a character without being able to use one's normal set of expressions. All the rubber and makeup attached to your face left you with only a modest range of facial movements.

Grinch had so many people in make up - virtually everybody. We had about 100 people a day for five months. And every day we would use 100 sets of appliances.

Actors have seven tracks going in their minds: They've got all the research they've done for the part, then they have whatever the director asked them to do, then they've got what the departments like special effects need them to do.

A way you can get really good abs in film is you get your makeup artist to paint shadows - faux washboard. But if you see me in a movie and I have great abs, it means I have a great body double.

I always do makeup touch-ups myself, especially for blood, wounds, and dirt. It saves so much time.

I mean, look, I wear makeup in films. I don't wear makeup in real life. It's just part of the gig, that's all.

When you're with another actor who's also been through five hours of prosthetic makeup, and you're eating another person's neck, and fake blood is being spurted out at you for two minutes, it's incredibly fun, and you're in character for that time. You can't really believe that that's your job.

For my first Hollywood film, I really didn't want to be doing a film where I'm looking like a stooge with fake snakes that look like socks.

When you do action stuff and sci-fi stuff, you have a lot to hide behind - the hair and the makeup and the special effects. But when you play a normal girl, it's challenging because you have to trust yourself.

When I was younger, my goal in life was to work in special FX makeup. Liquid latex and fake blood! That was the dream!

What we don't realise when we watch a normal film is how many times someone has run in just before a shot quickly to wipe away that sweaty moustache. You never see a normal spot, a bag under the eye or an unplucked eyebrow, because that's not how Hollywood works.

I've always enjoyed watching makeup artists - but I'd like to go to the extreme and do monster makeup in movies.

After doing STAR TREK for so many years, to do just regular makeup is such a treat. Just put some makeup on and "thank you very much," you're on your way.

I didn't play the Ghost Rider in the first movie. That was a stuntman. In this film, the Ghost Rider feels much more alive because I did put some thought into how he should walk and into how he should move. I was so into the character, in fact, that I would paint my face with white and black makeup to look like a skull. And I put on blacked-out contact lenses, so I almost looked like an Afro-New Orleanian voodoo icon by the name of Baron Samedi. Oh man, I would walk around the set without saying a word to anybody, and I could see the fear in my co-stars' and co-directors' eyes.

If I don't come home covered head to toe in fake blood then I haven't done my job as a horror director.

I've done a fair amount of that stuff... when we did 'Lord of the Rings' the transformation sequence from Smeagol to Gollum was a 19-hour make-up job. You have to have a kind of zen button that you press and allow the mind to be focused in a certain way.

My job as a dramatist is to find out where these characters want to go, and make it as hard as possible for them to get there.

I kind of put myself out there a lot just because I trust the people I'm working with. You have to see what works and what doesn't. Sometimes it's not my job to find that out, it's just my job to do what the character calls for. And if you change the character I'll do that too.

A lot of the projects that I do, I like to be involved with earlier. I just feel that, certainly from an acting point of view, it's easier to do my job, if I'm included in what the intentions are, for why people are doing what they're doing, especially with a director.

Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.

I talked to George Lucas once, not about Star Wars. Everyone wants to talk to him about Star Wars, and I didn't want to be one of those people. In person - at least on this occasion - he wasn't effervescent and giddy, as the Star Wars movies are. He's more focused.

I truly believe that the job of an actor and the drive of an actor is simulating the internal journey in life which is to get deeper and deeper into our understanding of who we are.

I don't really pity any of my characters. I hold my characters under a harsh fluorescent lamp and ask "Who are you?" I'm not doing their makeup or giving them hairdos. They present themselves to me as they are and then I let them say what they want. Usually they're saying something too honest.