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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
Looking
Versions
Perfect
Screens
Often
Parts
Play
Aren
Think
Asked
Thinking
Worth
Impossibly
Bring
Version
Nice
Screen

More quotes by Zoe Kazan

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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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Nothing's going to come to you by sitting around and waiting for it.
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I find playwriting really painful. I love it, or I wouldn't do it, but I don't love the theater as much as I love movies.
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I never wanted to be a playwright.
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Half the fun is getting to play dress-up and imagine what it's like to be this other person. If you're not excited about a part where you get to use your imagination, then what's the point in doing it? It'll be just another job. Also, Director Michael Pressman and I see eye-to-eye with Marie.
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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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I just went through my childhood attic with my sister. I'm not an expert, and I don't mean to put myself in that category, but thinking about Malcolm Gladwell and the 10,000 hours, I was like, Here are my 10,000 hours!
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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 you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
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I would not wear any clothes that had a brand name on them, and I only read books that were canonical.
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In New York you can just walk out and be among people. You're on the subway among people, you go to cafes, you can talk to people.
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I quite enjoy a high-waisted cotton panty.
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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 wouldn't wear makeup, and I didn't like to let boys open the door for me because I felt like it was sexist.
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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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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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Most adults get to a point in their careers where they feel secure, where they have a body of work behind them that will ensure longevity, and for actors, it's just not like that. You're basically always a temp, going from job to job.
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I feel like a lot of my work on stage, I've gotten to play a wider range of characters than I have on film. This feels closer to who I am than stuff I've played on stage, or, like, Olive Kitteridge.
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I have a lot more writing experience than Paul Dano has, so to be able to put that experience to use in exercising his vision was almost an acting exercise: How would I write if I were Paul? When I look at it, it feels so completely his, but it's also mine.
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What I did have was an incredible amount of belief in myself.
Zoe Kazan