Quote

So often you're asked to play impossibly perfect version of yourself on screen that it's nice to get to bring in those parts that you think aren't as worth looking at.

Zoe Kazan

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Zoe Kazan
Age: 41
Born: 1983
Born: September 9
Actor
Film Actor
Film Actress
Playwright
Screenwriter
Stage Actor
Television Actor
Writer
LA
California
Zoe Swicord Kazan
Thinking
Worth
Impossibly
Bring
Version
Nice
Screen
Looking
Versions
Perfect
Screens
Often
Parts
Play
Aren
Think
Asked

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I don't have a lot of patience for boring arthouse movies.
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I grew up with my grandfather [Elia Kazan] being famous in a way that's not like Beyoncé, but famous in a relative way. It made me feel weird about the way that we treat people that are famous, and it made me feel weird about fame in general.
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I was really surprised when I started working and realized that you're actually on your own, a lot of the time. It makes you really responsible, as an actor.
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I find playwriting to be incredibly difficult compared to screenwriting. Part of it is that I grew up watching movies and not watching plays.
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I'm not that interested in writing for myself. That's not where my impetus as a writer comes from.
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I don't think a lot of people are like, I'm just quirky! Or if they are, it's a stage they're going through as they figure out who they are. I never felt like I was choosing roles that were quirky.
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When I'm writing, I look like a fool because the parts are moving through me and I'm crying and laughing and making faces.
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When I would get close on a part but wouldn't get it, I would be like, They made a mistake, which is not how I think about things now. I both admire it and I'm grateful for the modicum of health, knowledge, and humility that I have acquired over the last 10 or 15 years.
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Nothing's going to come to you by sitting around and waiting for it.
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I feel lucky to receive such critical attention and praise when you're in a show that's going to last a month, it's just easier when audiences are more receptive. I've done two new shows this year, so I'm always excited to work on something a little older, traditional and structured.
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You set up the story, but the characters start talking, and they go places that you didn't expect. You have to follow.
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I don't feel like I have a super straightforward relationship with the idea of fame. It makes me sort of level things out in my own brain almost immediately when I meet someone.
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I love to act and that's sort of my first love. That's what I started out doing.
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And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, 'Hmm, there's half a page that's good here.' Then you throw out everything else.
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I am very much in the instant-gratification camp. I am too much of an actor not to be. I am used to doing my work and having someone comment immediately. So I think that I'm a little hooked on that gratification structure.
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It's a good thing I learned some humility and perspective as I got older.
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I've always really been interested in the Pygmalion myth and both what it has to say about creativity and what it has to say about relationships between men and women.
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I think movies have much more magic than the theater. Theater can be a magical experience, but movies thrust their subjectivity on you in a more profound way.
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I had a real feeling of being fated to be an actor and do my work, and I remember so much speaking up in a room full of people who authentically knew as much or more than me, and feeling like I was absolutely equal, and what I had to say was important.
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Sometimes I feel that the people I'm writing are more real to me than the people around me. When you take that imaginative leap, you're living so much in that world.
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