Academy Award Winners

"Years from now, when cinephiles are asked to name the movies' golden age, they'll say it was when Cate Blanchett was in them."

"That Blanchett could appear in the same Toronto Film Festival playing Elizabeth and Bob Dylan, both splendidly, is a wonder of acting."

"[She] elevated most of our performances. She's exquisite. She's a great friend. She can read a scene like few actors can. I find her to be grace incarnate. I liked that she was playing a dancer. It fit her because of who she is, because of her undeniable elegance."

"I remember going to the Sunset 5 and just thinking, 'Who is that My goodness'. You just don't see people who have that kind of power and ability every day of the week."

"She has this incredible ability to transform herself. Sometimes you're not sure it's her on screen. It's always fascinating; this capacity of being a totally different person, and yet being yourself. She's very inventive; working with her, I can tell right away she's very free."

"I'm not very cautious or careful. It's always been more about having a variety of experiences than any planned trajectory... I think that in a way, projects choose you."

"No one is ever who they purport to be. And I suppose I'm most interested in the gap between who we project socially and who we really are."

"You know you've made it when you've been moulded in miniature plastic. But you know what children do with Barbie dolls - it's a bit scary, actually."

"For me, the roles are the secondary part of the whole process to me strangely. It's about who you're being directed by and who the other actors are. Whenever I read a script, I think, 'wow, that's a great story,' and invariably I want to play one of the other characters, and the process of working out how to play the character you're offered is to work out why you aren't playing the other characters in a way. Maybe that's why I play roles of various different sizes. The challenge is not necessarily always the lead role, but in this case [Blue Jasmine] it was all those things combined."

"In my career, I thought I've never wanted to get anywhere in particular. I just wanted to work with interesting people on interesting projects."

"I remember when I came out of drama school I'd seen a lot of actors, brilliant actors who didn't work very often. And when you're starting out, there's more rejection than there is acceptance, and I said to myself, “I’ll give it five years. I don’t think I have a strong enough mettle to deal with the rejections.""

"It's not just women in film, 18-year-old girls feel pressure to do preventative injecting. I see someone's face, someone's body who'd had children and I think they're the song lines of your experience, and why would you want to eradicate that? I look at people sort of entombing themselves and all you see is little pin holes of terror... and you think, just live your life, death is not going to be any easier just because your face can't move."

"Of course one worries about getting older - we're all fearful of death, let's not kid ourselves. I'm simply not panicking as my laugh lines grow deeper. Who wants a face with no history, no sense of humor?"

"I've done a lot of talking over the past six years. My husband and I have been running the Sydney Theatre Company and it's been magic – my kids have been able to see so many of those transient moments between acting and real life behind the scenes. But now that I've given it up I'm looking forward to being a bit quieter. I'm very conscious of that. There have been times when I've heard myself in the past and thought: "Aw, just shut up.""

"It's been an enormous challenge and enormously gratifying. Andrew and I wanted to travel less and the opportunity of living and working in Sydney was irresistible, especially when it came to being able to give our children roots. I also felt drawn to the stimulating kind of environment that the theatre offers in a way that is completely different from film. To direct a company has its own challenges, and there's nothing like the terror and thrill that comes from performing live in front of an audience. So it's been a marvellous experience for both of us."

"I can be a real pessimist. You know that when you win an Oscar and you walk offstage and your first thought is: "Oh God, I've peaked.""

"What interested me was how much of a departure this was in that you have three interesting, across the generations, female characters, literally riding alongside the male characters. Also the emotional and psychological depth of the characters was, for me, a lot richer than I've seen in a western. But never once did it sacrifice the thrill of the chase. So it was a journey into the unknown for me."

"I think marriage is all about timing. Getting married is insanity; I mean, it's a risk – who knows if you're going to be together forever? But you both say, 'We're going to take this chance, in the same spirit."

"Well, I'm a product of the Australian film industry which by its very nature is independent, sometimes for better sometimes for worse. I suppose the collaborative nature of being independent is what feels natural to me, and when people talk about working in Hollywood I don't quite know what that means. Being part of the Indiana Jones franchise and The Lord of the Rings, that felt more like a departure for me. But in the end, I think the whole notion of the independent spirit is not just about the way a film is financed but about the creative thinking behind it, and sometimes that can exist in the mainstream; those sensibilities can cross over and audiences are interested in, not a homogenous way of storytelling but a diverse way of receiving a narrative."

"As random and as subjective as this award is, it means a great deal in a year of extraordinary, yet again, extraordinary performances by women ... And perhaps those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences. They are not. Audiences want to see them, and in fact, they earn money. The world is round, people."

"Thank you of course to Miss Hepburn. The longevity of her career I think is inspiring to everyone. But most importantly and on behalf of everyone I know in The Aviator, thank you to Martin Scorsese. I hope my son will marry your daughter."

"If I had my way, if I was lucky enough, if I could be on the brink my entire life — that great sense of expectation and excitement without the disappointment — that would be the perfect state."

"I think crime pays. The hours are good, you meet a lot of interesting people, you travel a lot."

"In Woody Allen, the Republicans quickly discovered the genuine article, a sexual heretic...Of course it is absurd to suggest that Americans do not approve of love. They do, with the same highly trained enthusiasm with which they approve of a sense of humour. Their desire to preserve this infantile attitude is what makes them so frightened of feeling sympathy for Woody Allen. They do not wish to acknowledge that true love might also be socially disruptive, so they insist that the socially disruptive is not true love. That is why it is so crucial that Woody Allen be thought not only immoral, but insincere."

"If Woody Allen were a Muslim, he'd be dead by now."

"I don't even think Woody does comedy. I think he does dramas with jokes. They're all sad at their core."

"I think the best thing for writers to do with the movies is to keep their trap shut. Woody Allen said, "Take the money and run," and he's right."

"Without Feathers, a collection of Woody Allen’s early short stories, was a prized possession."

"Woody Allen is currently having non-incest with a non-daughter for whom he is a non-father because they have no concept of families...it's a weird environment out there."

"This is Woody Allen's 41st film. He writes his films himself, and directs them with wit and grace. I consider him a treasure of the cinema."

"With the possible exception of What's Up, Tiger Lily (1966), the schlocky Japanese spy movie to which he attached his own, sidesplitting English soundtrack, no Woody Allen movie has ever been more or less serious than another of his works. He's always been serious. It's the audiences who have been frivolous. In Zelig he reassures us that he can still be funny and moving without making the sort of insistent filmic references in which he delights but which can be infuriating to others. Zelig is a nearly perfect — and perfectly original — Woody Allen comedy."

"In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director."

"At the time that I worked with Woody Allen, I knew nothing of the allegations. At the time, I said it's a very painful and complicated situation for the family, which I hope they have the ability to resolve....If these allegations need to be re-examined which, in my understanding, they've been through court, then I'm a big believer in the justice system and setting legal precedents,....If the case needs to be reopened, I am absolutely, wholeheartedly in support of that."

"You know, the whole American culture is going down the drain, you can't turn on a television set and see anything, or walk in the street and not find garbage, or neighborhoods that were formerly beautiful now have McDonald's in them, and it's all a part of an enormous degeneration of culture in the United States. People that exist in that culture are forced to make moral decisions all the time about their lives, their occupations, their love-lives, and they make decisions that are commensurate with what's happening to them in this culture, and it's too bad that that's happening because that's what Manhattan is about, that New York used to be such a great city, so wonderful, and it has to fight every day for its survival against the encroachment of all this terrible ugliness that is gradually overcoming all the big cities in America. This ugliness comes from a culture that has no spiritual center, a culture that has money and education, but no sense of being at peace with the world, no sense of purpose in life. They don't know what they're doing, or why they're here. They have no religious center, they have no philosophical center, and so they act, they do what's expedient at the moment. They have no long view of society. They only have the view of quick money, and kill the pain of the moment, and so instead of dealing with the real problems that exist, that are complicated, they sweep them under the rug by turning on the television set, or taking cocaine, or doing many things that enable them to escape confrontation with the unpleasant realities of the world."

"I WANTED nothing more than to be a foreign filmmaker, but of course I was from Brooklyn, which was not a foreign country. Through a happy accident I wound up being a foreign filmmaker because I couldn't raise money any other way."

"Woody Allen later wrote in a letter: "My observation was that once a person actually completed a play or a novel, he was well on his way to getting it produced or published, as opposed to a vast majority of people who tell me their ambition is to write, but who strike out on the very first level and indeed never write the play or book. In the midst of the conversation, as I'm now trying to recall, I did say that 80 percent of success is showing up." - 1989 August 13, New York Times, On Language: The Elysian Fields by William Safire."

"I have learned one thing. As Woody says, "Showing up is 80 percent of life." Sometimes it's easier to hide home in bed. I've done both. - 1977 August 21, New York Times, Section 2: Arts and Leisure, He's Woody Allen's Not-So-Silent Partner by Susan Braudy, Page 11 (ProQuest Page 83), New York."

"To a man standing on the shore, time passes quicker than to a man on a boat — especially if the man on the boat is with his wife."

"Bidnick gorges himself on Viagra, but the dosage makes him hallucinate and causes him to imagine he is Pliny the Elder."

"I was supremely confident my flair for atmosphere and characterization would sparkle alongside the numbing mulch ground out by studio hacks. Certainly the space atop my mantel might be better festooned by a gold statuette than by the plastic dipping bird that now bobbed there ad infinitum."

"As we know, for centuries Rome regarded the Open Hot Turkey Sandwich as the height of licentiousness."

"She quarreled with the nanny and accused her of brushing Misha's teeth sideways rather than up and down."

"I have also reviewed my own financial obligations, which have puffed up recently like a hammered thumb."

"With that, he scribbled in an additional ninety thousand dollars on the estimate, which had waxed to the girth of the Talmud while rivaling it in possible interpretations."

"And how does gravity work? And if it were to cease suddenly, would certain restaurants still require a jacket?"

"How could I not have known that there are little things the size of "Planck length" in the universe, which are a millionth of a billionth of a billionth of a centimeter? Imagine if you dropped one in a dark theater how hard it would be to find."

"It is a gorgeous gold pocket watch, however, I'm proud of it. My grandfather, on his deathbed, sold me this watch."

"When I was kidnapped, my parents snapped into action. They rented out my room."

"I'm not a drinker — my body will not tolerate spirits. I had two Martinis on New Year's Eve and I tried to hijack an elevator and fly it to Cuba."

"I tended to place my wife under a pedestal."