Zoe Kazan Quotes

I was lucky - the first eight productions I auditioned for, I got cast.

Conservatism is an active intellectual pursuit; it requires a constant vigilance. It has nothing to do with feelings. Liberalism is the most gutless choice you can make. You just see suffering and say, 'Oh, I feel so horrible!'

I have not found my perspective on my career change. What I have found is that my life in general has been more fulfilling. To be able to influence an individual's life and on who they become as a person is a very rewarding feeling.

There’s a redemptive power that making a choice has rather than feeling like you’re an effect to all the things that are happening. Make a choice. Just decide what it’s gonna be, who you’re gonna be, how you are going to do it. Just decide. And from that point, the universe will get out of your way.

I do tend to gravitate to the more dramatic side of things. I love feeling intense emotions when I'm acting. I just love characters and stories with conflict.

My choice of colors does not rest on any scientific theory, it is based on observation, on feeling, on the experience of my sensibility.

I started acting when I was 13, so acting has been, with great fortune, my job since I could get a job.

When you are playing with someone who really has something to say, even though they may be otherwise quite different in style, there’s one thing that remains constant. And that is the tension of the experience, that electricity, that kind of feeling that is a lift sort of feeling. No matter where it happens, you know when that feeling comes upon you, and it makes you feel happy.

I'm not saying that I don't like the success of the job, but I really like going to work every day and I really like coming home and feeling satisfied with what I did today.

We live through myriads of seconds, yet it is always one, just one, that casts our entire inner world into turmoil, the second when (as Stendhal has described it) the internal inflorescence, already steeped in every kind of fluid, condenses and crystallizes—a magical second, like the moment of generation, and like that moment concealed in the warm interior of the individual life, invisible, untouchable, beyond the reach of feeling, a secret experienced alone. No algebra of the mind can calculate it, no alchemy of premonition divine it, and it can seldom perceive itself.

I feel vulnerable when I have no choice. It segues into every facet of life, whether it's love, work, family, or conservation. Here it is: the whole reason that I started the Ian Somerhalder Foundation was the feeling of complete vulnerability during the BP oil spill.

I grew up doing theater when I was very young - always enjoyed it. Studied it in college, got my degree in it, and never really had the guts to do it professionally. But one summer, a friend of mine was with an extras agency and asked me if I wanted to be an extra with him in a movie, and I was, like, "Sure." At lunch, the writer came up to me and asked me to audition for a role. I got it, and it sort of snowballed from there.

I don't like real places, but I don't like imagined ones either. I feel like I'm looking for some mixture and it's very hard for me to say because I like to use real place names because there's an uncanny feeling to them, but at the same time I don't ever really try to make them plausible. Sometimes I like to use them as a way to hide in plain sight a little bit, because to me a very exotic or imagined setting has a lot of weight and a lot of burden to it, and it doesn't suit me, but a real place seems to have its own weird legacy, so I don't know what the choice is?

I don't think we get a choice in who we fall for," Ian whispers. "I think we just do.

Pleasure is our first and kindred good. It is the starting point of every choice and of every aversion, and to it we always come back, inasmuch as we make feeling the rule by which to judge of every good thing.

I'm really inspired by the interplay of visual art and music, a total artistic environment where there's sound and visuals. When I think about that I get stimulated and excited. It's a feeling that you can't label with words.

What I really like is the marriage of both [writing and acting] - for instance, with Postcards. I don't actually act in it, but I worked on it with Mike [Nichols] as I went along, creating the character, so it was a bit like acting for me.

I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.

There are certain scenes you do in a movie that are like catching a wave, and you leave work feeling elated - almost as though you've purged something. That's rare, but you do live for those moments.

Forgiveness is a CHOICE, not a feeling.

You have to get beyond your own precious inner experiences. The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings. The ideas of the great playwrights are almost always larger than the experiences of even the best actors.

Happiness is not a feeling, it is a choice. To be happy, one must choose to be happy, not respond to a circumstance that now controls your happiness.

I auditioned for a Pepsi commercial, and I got it, and that was incredibly fun. So I thought, Well, maybe I should try this acting thing.

I realize anew that, just as we must learn to obey God one choice at a time, we must also learn to trust God one circumstance at a time. Trusting God is not a matter of my feelings but of my will. I never feel like trusting God when adversity strikes, but I can choose to do so even when I don’t feel like it. That act of the will, though, must be based on belief, and belief must be based on truth.

I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.