You never know who's going to kill you until you meet them.
It's not really difficult to go from one voice into the next. It's like asking you to sing a line of Happy Birthday and then Goodnight Irene - assuming you know the words to both those songs
I wore a thong and a bra and a wig. Those things hurt. I mean, thongs? Like, they dig in. It takes a tough man to be a woman.
When you become deeply involved with someone, their problems become yours, and vice versa. It's family.
I'm very happy I get to keep working - it's an insanely fortunate thing.
Being funny with a funny voice is more my comfort zone, a broader character that I try to humanize, a kind of silly or wacky persona that I try to fill in.
I say with pride that I've done over a hundred voices or something, and some of them may have only had two or three lines, but I literally never ran out. I think I'm a bit of a savant that way. I kind of remember every voice I hear, famous or otherwise, and can imitate it pretty fast. I've enjoyed mimicking people famous and not famous all through my life, and they kind of remain in the memory banks, so I'm ready to trot them out.
Getting over someone is a grieving process. You mourn the loss of the relationship, and that's only expedited by 'Out of sight, out of mind.' But when you walk outside and see them on a billboard or on TV or on the cover of a magazine, it reopens the wound. It's a high-class problem, but it's real.
Once someone is in your family orbit, there's a mutual responsibility, and whatever happens to them happens to you.
Guys will definitely settle for women who get the joke. But a woman who can make you laugh? It's not high on a guy's must list. Perhaps it should be.
I ask for a lot of advice from different fathers - all kinds of dads.
I've been doing silly voices since I was a child.
There's no experience like on-the-job training.
I joke that my niche in Hollywood has been naked foreigners.
[Kids] are just like annoying short people
I don't really remember much about the '60s at all. You know, 1970 is the first year I remember pretty well.
You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.
Association bring you into the larger world of other people and things. Not having that is a kind of prison, a prison of such a limited consciousness, of such a limited frame of reference and association.
I've always been a fan of plain writing. I hate metaphor-laden, heavily larded, lyrical writing.
Literally, I see my writing as transcription - a transcription of what I see, hear, think, live.
As an actress, you're living something through the duration of the play and its geography. I've always seen writing the same way. It's like somehow I'm moving through the terrain of the book as a performer.
I just really committed to trying to never repeat myself. I'd seen actors do that on films, and I was, like, "I wanna try that once!" Ultimately, I'm much more in the school of getting one or two versions that feel right, as opposed to going all over the map. But it's fun to exercise that once in awhile.
A self-help book can't really address a problem unless it's individualized. It's not going to talk about a globalized problem.
Historically, there would always be people among the general population who had family members, friends, cousins who'd done time or who'd been in prison.
I think the reason the Golden Age of television is so golden is because a lot of folks are willing to let creators do their thing and live or die by their own muse. They certainly allow us to do that.
