Sarah Paulson Quotes

To not have any hope is where things start to get really bleak. Things are possible. The impossible can be possible.

Nobody could ever say as many terrible things to me as I say to myself.

I think it's very important for people to not judge the people you're playing. You have to find a way to love them because their story is theirs. I just don't think there would be any use in that.

I've never been very comfortable as an actor looking out into the audience; I always like to keep my focus on the other person. When you start playing out to the audience, it takes me out of it, because people don't do that when you're in life behaving with another person - you don't often look out, around you, in a presentational manner.

Anything is possible, and the truth is any human being at any given moment, no matter how good they are - not only at their job but also as a person - they're capable of anything, and it's not always a conscious thing.

Playing Sally McKenna was a wonderful, freeing thing because we all in life have so many responsibilities to ourselves, to other people, that we rarely get to explore a very selfish side of ourselves in doing what we want, when we want, how we want, without answering to or being responsible for anyone else.

I do like the immediacy of audience's reaction. I like when I can hear the stillness and I know that they're with us.

I have been sitting around waiting for an opportunity to get to do something that matters for so long. Not just that matters in the world, which I think that season, in particular, had a very important meaning for a lot of people, but for me, as an actress.

I'm sporting some really blonde hair because I live in Hollywood and I'm an actress.

If I had my druthers, I would be working in all different mediums, forever.

I played a lesbian reporter in 1964, who was incarcerated, and ended the series as a 75-year-old woman. And then, I was a witch blinded by acid who became the Supreme, and took my mother's energy and life, so that I could live and she would die. And then, I was conjoined twins. And then, I played a heroin addict.

No, I'm not a Republican working in Hollywood, I am a Democrat.

I learned, having played Marcia Clark, what the value of that is in your life because it can affect everything, every choice you make, the way you deal with a stranger on the street, or your best friend or lover. It's a powerful thing to know yourself and to have the commitment and the courage to let that be your guide.

I just don't feel that we've traveled very far in the realm of social equality. There just seems to be a little bit of unrest. And sometimes I think that happens when you really feel like something's about to change. Right before the moment of lift off, sometimes things feel a little bit unhinged, and that's what it feels like to me right now, both as a woman and just as a human on the planet as an American woman in America. I feel like we're on the precipice of change. I feel a little nervous.

I've only been to one concert in my life.

I think sometimes when you can feel the velocity of change, like nowadays, you really need a seat belt. It's almost like having a growth spurt that you can feel, like a 16-year-old who woke up one day and grew four inches literally overnight. That can be a painful thing sometimes.

To me, most of life kind of lives in the grey and I don't just mean morally. I just mean kind of everything. If things were black and white it would be a lot clearer as to what to do all the time.

I was constantly, always and forever, trying to perform the musical 'Annie' for anyone who would listen, and I have a terrible singing voice. It was the first thing that made me think I wanted to be an actress.

Your mind knows your pretending, but, in terms of the adrenaline and the fact that you are actually crying, and that you are that upset, and you are screaming, and you are simulating terror, your body does not know that it is not real. Your body feels really wrecked afterwards.

All of my friends went to college and I got a job at Circle Pizza, where I worked for 24 hours. I had to call my mother four times to ask her how to spell Parmesan. I'm not kidding. I was a terrible speller. I think I was really nervous that I somehow didn't feel right out in the world in that way.

I personally think it would be a very liberating thing for women to allow themselves to understand that having it all incorporates sacrifice. It does mean that you can't be everywhere all the time. It does mean that your friends are not going to get all of you.

All my friends went to the Madonna concert when I was in, maybe, the 9th grade, and my mother refused to let me go.

Sometimes I think on television, you use maybe a tenth of what you are able to do. So it’s nice to go, Well, I’m gonna take two months and reinvest in acting and storytelling. You don’t get to do that on television.

I don't have children, but my work life is as important to me as anything could be. I've dedicated a lot of time and energy and years to it. Some might say some of my childbearing years to it. In and of itself, my work is like a child to me. That is my reality.

My great love is the stage because I do feel like it's the place where, if you're lucky and everything is firing in the right way, you have the greatest shot at being successful. I don't mean by getting great reviews, but I mean by finding the core fo the person that you're playing.

I'm interested in telling the character's story, not my beliefs, political or otherwise.

I had gone away from Twitter because before people had been so mean to me. Talking about my lisp and my enormous forehead and all these things. I do have a lisp, I do have a forehead I know you could land a plane on, it's no mystery to me. I just didn't have the skin for it.

If you get on a TV show that's successful, odds are that you're playing the same character for as many years as the show is running, which can be its own blessing, but it can also be a curse because you're playing the same thing and that can be tiresome.

I've always really made my living in television. Television has always been so good to me.

The theater commitment is hard, especially in conjunction with a television commitment. That's a big, long commitment.

Acting is doing. The more you do, the more you learn. Work begets work.

It's OK to sit in the Golden Globe room and look around and think, 'Oh, Helen Mirren's a loser tonight, so is Nicole Kidman. Meryl Streep lost tonight. Jessica Lange didn't win.' If you're gonna be in the company of losers, that's the company to be in.

The thing I worry about for myself is I spend a lot of time alone, and another person comes around and you're like, 'What are you doing here? Get out of here.

I'm addicted to routine. I don't know if that's because I moved around so much as child - by the time I was 12 years old, I had lived in about 10 different places. But I like going to the theater at a certain time.

I usually feel like the role comes to you to sort of illuminate some piece of where you are in your life. I feel like I myself am a single woman and I'm childless - by choice - at this point, and I don't know what will happen.

If you heard me sing, you would just plug your ears and run, screaming, the other way. I promise.

I'm one of those actors who's just standing there, waiting and ready for something to come my way. I don't really try to think about, "Oh, I feel the next thing I should do should be a feature. Now, I think I should do a play." I just hope someone wants to cast me in something.

I work in the '60s more than I've done anything else. I did a movie, called Down with Love, in the '60s. I did a movie for HBO, about the Johnson administration in the '60s.

That is my reality. It's that important to nurture and foster my own creativity. There are plenty of birthday parties I haven't been able to go to, weddings I haven't been able to go to because I've been working. Those are things that have not been easy to give up, but at the same time, it is my reality. It's my responsibility.

I like the ritual of putting on my makeup, putting on my costume, doing my warm-ups. I eat the same dinner every night before I go on stage. I like having something that I can count on, something that feels stabilizing for me.

I could feel my body temperature - I knew I was bright red. It was so humiliating, I was so upset, and it was nothing I had planned to do. It was just one of those beautiful moments, the alchemy of acting that is so mysterious, where you sort of go, "How did that come out of me?"

When I have brown hair I feel the most like myself, but I don't feel glamorous. It's a disgusting thing to admit.

I have friends say, "Don't you want to have a little you?" The jury's still out on that for me. I don't have a definitive answer, but I do know that I can look back on some of the things I've worked on and some of the things that have literally come out of my imagination and be just as proud of it as if I had created a person. I feel like that shouldn't be of any less value. It can't be because it's what my life is, and I don't want to make it smaller or more palatable just because society tells you to. If you can get comfortable with sacrifice, then you are having it all.

I've never been on a show that's run for more than a season.

I'd love to be in the '70s. I'd love to have a big, long wig parted down the middle with flat-ironed hair and bell-bottoms. They're actually very flattering for my figure. The wider the leg, the better for a person with a booty.

I could never have thought, "I wanna play a two-headed woman." That just never would have occurred to me, in a million years.

I will do plays as long as they're interested in having me do them. It's the biggest opportunity to learn the most about how to act. Something I discover every time I'm doing one is how little I know about acting - how important the art of listening is, and how important it is to listen with your entire body. You can tell so much of a story with stillness, and a lot of that can be from really actively listening to your scene partner.

When I look at my career, the bulk of it has been television, and I love working in television. But there's a speed at which you do it. You're doing seven to ten pages a day on a series, and it's hard to feel like you're doing the detail-oriented work that I like to do.