Best 32 quotes of Jennifer Jason Leigh on MyQuotes

Acting for kids is like playing house, you know? But growing up in Hollywood, it just made it seem possible.

Even if the role is very far away from me, to try and make it as nakedly me as possible is an intriguing notion.

For me, something dangerous would be playing thebabe in a huge studio film. That would be terrifying because I'dstink... I want to explore human beings on as deep a level as I can.

I don't need a reason to kill myself-I need a reason not to.

I don't really watch my moves all that often; I mean, really, I don't.

I feel like I turned down a lot of things that I wish I hadn't. But you never know when you're younger. I don't have regrets about certain things I turned down. Those films would have required things of me that would have been challenging, and they ended up being really good movies. But I was never a careerist, I never thought in those terms. I'd be like, "Oh, I'm tired. I don't want to work.

I hate parties. I don't like big crowded things.

I hope my talent has something to do with it. I just think this business is so crazy. I obviously do the best I can, and the directors I admire see something in me. But this is a strange business, and there are people who are incredibly talented who never make it, who never get these opportunities. So that's why I say I'm lucky. I don't feel that I'm not talented - I think I am talented - but I also think I'm very lucky.

I just don't want to talk about my personal life. I feel like it's mine, I'm not trying to promote it. It's nice to have things that are your own, that you value enough that you don't have to use to sell a movie.

I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.

I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.

I like to investigate all different kinds of people, I guess, and find out what makes them who they are, and try to be honest in the portrayal, and truthful, and find out how to understand that person, how to communicate that person's experience.

I loved acting as a kid because I was kind of shy, so it brought me out of myself. Acting for kids is like playing house, you know? But growing up in Hollywood, it just made it seem possible. It wasn't like some idea of going to Hollywood; it was in my backyard. I lived two blocks from Grauman's Chinese Theatre growing up. It was what people did. It's an industry town. So it wasn't some far-off fantasy, it was like "Oh yeah, when you grow up, you do this because that's what people do here.

I loved acting as a kid because I was kind of shy, so it brought me out of myself.

I love Polaroids and I have a Polaroid camera collection from the '50s.

I'm a typical middle child. I'm the mediator. The one that makes everything OK, puts their own needs aside to make sure everybody's happy. It's hard to change your nature, even with years and years of therapy.

I'm not necessarily less gratified by films where you're given less room to maneuve. Because I love a great script, and I love to respect it, and I love to try to give a director what he needs and wants, especially having directed now. [Laughs.] I'm much more open to try to give him what he wants and figure it out. I like working with directors I respect and admire, obviously. And everybody has their own way.

I think Robert Altman could see things in me that I didn't know I possessed, which is really exciting. He also instilled a tremendous amount of confidence, because he would say things like, "These are the bare bones, but I want you to go fill it out. You find the character. You bring it to me. You write whatever you want." And if you had an idea, he wouldn't want to hear about it. He's want you to show it to him.

It's very exciting to work with people who inspire you.

I used to hang out by the food table at parties because you don't have to talk to anybody. If you do then you can talk about the food.

I've always done roles that really appealed to me on a gut level and which I found inspiring.

I've had guys, when I've been single, come date me and I've found out they were expecting some kind of whirlwind, some dramatic crazy person-- and that's just not me. I'd much rather be in a movie that people have really strong feelings about than one that makes a hundred million dollars but you can't remember because it's just like all the others.

I've never done anything that I felt was crossing the line for me. But everybody has to make that decision individually. Like, I've never shot heroin to play a heroin addict. I've never turned a trick to play a prostitute. Whatever. You draw the line where you feel it could be harmful.

I worked with great, brilliant directors. I've been so lucky. It's terrible to compare anyone, because you can't. But I can just tell you that this experience was just a truly magnificent experience for everyone involved.

One of the reasons that I do a lot of different kinds of pictures is because I learn a lot when I'm doing them.

People equate success with youth. And if you haven't had a certain amount of success by a certain time in your life, it's never going to happen. There's a fear about that. So people start lying about their age really young. I've never done that because I think it's so insignificant.

Quentin's [Tarantino] thing is "I don't want anybody to get up until they have to. So, because he really wants things to come organically. And he may have specific things like "No, this ... I want you to be here so that when he punches you, it falls. I want that action to happen here." But you feel like it does, all the blocking does come from an organic response to the material.

Sometimes the work can get in the way and you give a less-good performance, and sometimes it doesn't and you can really get to the heart of something. And all the other stuff is just interesting and adds another layer to your performance. It helps you find the reality. Because you're not just playing yourself, you know? That would be kind of boring.

There's so much confidence and freedom that comes from that way of doing things. Robert Altman and Alan Rudolph make the set the place to be. It's fun. It's a kind of creative freedom that's really inspiring. Altman loved actors so much. He was a great mentor for me, really.

Writing, producing and directing, I must say, is incredibly satisfying and gratifying.

You know, you really do choose your existence in a way.

You try to find the internal life, but a lot of it is creating it through physical behavior and figuring out the voice when you create as much of a past as you would in a naturalistic piece. But it's fun, because it's like you're learning something, learning some kind of physical skill.