Actresses From New York City

"Too many of you, my friends, are dying. Now it's time for me to do my part and help you."

"Being tiny has been difficult for me in a business that regarded physicality as the most important part of your life."

"The only time you'll see me as a Democrat is when I play Sophia. In the real world I'm a Republican from head to toe."

"Age does not bring you wisdom, age brings you wrinkles."

"I think they look upon me as an old child, because I'm so little."

"Your victory is right around the corner. Never give up."

"You wanna know what scares people? Success. When you don’t make moves and you don’t climb up the ladder, everybody loves you because you’re not competition."

"I love that people never know what Nicki they are going to get on a particular song. I like bringing out a different side."

"I want to be a balanced artist ... this is all years of me learning me and my style, and deciding to do something different that would get everyone's attention."

"Women need to have a perspective. If we’re out here saying that we’re so confident, and we’re so this and so that, but we don’t even trust ourselves to write down our own thoughts and spit it on a beat? It just doesn’t add up."

"Dear first borns, especially daughters. God is your strength. That is all."

"Little girls can aspire to be anything, and that’s all I want people to see. Whether you follow Nicki Minaj's blueprint or not, just don’t be afraid to experiment and don’t allow people to knock your hustle just ’cause it ain’t something that you’re used to seeing. ... I like that I'm there because it gives little girls in Southside Jamaica, Queens, or South Africa or Brazil a moment to say, ‘Oh wait, I can be a female rapper!’ Yes, you really can."

"Oh my gosh, look at her butt Oh my gosh, look at her butt Oh my gosh, look at her butt (Look at her butt) Look at, look at, look at Look, at her butt."

"You could be the king, but watch the queen conquer."

"It's a great feeling to not box yourself into anyone’s limitations or ideas or judgments."

"What an extraordinary combination was Stella Adler - a goddess of full of magic and mystery, a child full of innocence and vulnerability."

"[Adler] established the value of the actor putting himself in the place of the character rather than vice versa … More than anyone else, Stella Adler brought into public awareness all the close careful attention to text and analysis Stanislavski endorsed."

"You can't be boring. Life is boring. The weather is boring. Actors must not be boring."

"Get a stage tone, darling, an energy. Never go on stage without your motor running."

"Use your creative imagination to create a past that belongs to your character. I don't want you to be stuck with your own life. It's too little."

"Stella is theatrical royalty who instills in her students a sense of the nobility of acting. She dares her students to act, to lift their bodies and their voices, to be larger than themselves, to love language and ideas."

"Your talent is in your imagination. The rest is lice."

"Stella Adler was much more than a teacher of acting. Through her work she imparts the most valuable kind of information - how to discover the nature of our own emotional mechanics and therefore those of others. She never lent herself to vulgar exploitations, as some other well-known so-called "methods" of acting have done. As a result, her contributions to the theatrical culture have remained largely unknown, unrecognized, and unappreciated."

"You must get away from the real thing because the real thing will limit your acting and cripple you. To think of your own mother's death each time you want to cry onstage is schizophrenic and sick."

"It takes three things to make it in this business: the tenacity of a bulldog, the hide of a rhinoceros and a good home to come home to."

"The theatre was created to tell people the truth about life and the social situation."

"In your choices lies your talent."

"Acting requires a creative and compassionate attitude. It must aim to lift life up to a higher level of meaning and not tear it down or demean it. The actor's search is a generous quest for that larger meaning. That's why acting is never to be done passively."

"The teacher has to inspire, to agitate. You cannot teach acting. You can only stimulate what's already there."

"I feel like you kind of have to live life to its fullest in order to be a good actor. Draw on experiences. The more experiences the better, and I really have had a lot of experiences in life, even at my young age."

"For me there’s no good or bad, as long as I’m feeling everything to the greatest degree, whether it’s sadness or happiness."

"I think it’s a good reality check to grow up in New York, because every day you’re exposed to people from all parts of the world, people that don’t have any money, people who live on the street, rich people — especially if you’re not sheltered."

"I love the fact that the present is the only real reality we have."

"I feel the popular music of a certain time really tells you a lot about what life was like in that period."

"I want to make it clear to England, I am not a party girl."

"I disgust wearing clothing. I don't have any qualms about being naked on screen. I know it's being shot by a wonderful cinematographer, so why would I fret? If it was for Playboy, I'd be worried."

"I'm not a model. Whenever I do a photo shoot I like to create a story."

"Paz de la Huerta has not risen to the status of It girl by chance. She has perfected the art of revealing her assets in a cheeky way at the opportune moment."

"I'm just one of the few American actresses that are willing to be nude. And I feel in order to be a great actress you need to be naked in all ways. Emotionally and … whatever."

"Paz is Genghis Khan meets Marie Antoinette"

"What is always overlooked is that although the poor want to be rich, it does not follow that they either like the rich or that they in any way want to emulate their characters which, in fact, they despise. Both the poor and the rich have always found precisely the same grounds on which to complain about each other. Each feels the other has no manners, is disloyal, corrupt, insensitive — and has never put in an honest day's work in its life."

"Her life among the lions on both sides of the Atlantic is not only witty but wise as she brings into focus one husband Kenneth Tynan, one Orson Welles, the one and only Elvis Presley, and not least of all, the lioness herself, surviving all."

"Elvis' quest led him through the study of all religions from Judaism to Buddhism and the teachings of theosophy with its belief in pantheistic evolution, reincarnation, the mystic the psychic, the spiritual, and the occult — in short, all the Aladdin lamps that lit up the 1960s. But before we roll about with laughter at the spectacle of this young many from the Bible Belt, raised on fundamentalism and comics, though apparently already well versed in polypharmacy — struggling to master the Wisdom of the East, we might pause a moment to note the names of George Bernard Shaw, Louis Lumière, Thomas Edison, Yeats, Havelock Ellis, Maeterlinck, the educator Rudolf Steiner, Krishnamurti, and Gandhi, all of whom had been influenced by or involved in theosophy at one time or another and would, not doubt, have welcomed Elvis with open arms as a fellow traveler in the belief that magic is inherent in us all."

"The Big Personalities weighed in. Soon after its publication Irwin Shaw wrote to me praising it. Terry Southern, calling me "Miss Smarts," said I was "a perfect darling." Gore Vidal phoned one morning saying, "You’ve got the one thing a writer needs: You’ve got your own voice. Now go." Ernest Hemingway said to me, "I liked your book. I liked the way your characters all speak differently." And then added, "My characters all sound the same because I never listen." All this, and heaven too. Laurence Olivier told me that now that my book was making a lot of money we could elope and I could support us. The Financial Times ran an item which read, "Such and such stock: No dud avocado." Groucho Marx wrote me, "I had to tell someone how much I enjoyed The Dud Avocado.… If this was actually your life, I don’t know how the hell you got through it." When people ask me how autobiographical the book is I say, all the impulsive, outrageous things my heroine does, I did. All the sensible things she did, I made up."

"My success took another road. I complained to Rod Steiger, "The book’s hardly been out and everyone wants to know what I’m going to write next. I mean, don’t I get to rest on my laurels?" In fact I had no idea of writing a second novel. "No," said Rod, answering my question. "Succeeding only means you get another chance to try to do it again." I thought about it, and then Ken said to me, "If you write another book, I’ll divorce you." I sat down and started my second novel and wondered that I knew its beginning and its end. I put it aside to write a play which went on in London.… I went back to my novel and finished it. It was published to good reviews but now there were a couple of stinkers. I tore them up and flushed them down the toilet. I’d become a writer. In 1964 Ken and I got divorced. Well, we did bad things to each other. Now, some three decades later, I look back in gratitude at him: I look back in wonder."

"The reviews were excellent and the book quickly went into a second printing. Then one night Ken came home and threw a copy of the book out the window. "You weren’t a writer when I married you, you were an actress," he said angrily. Obviously his colleagues had been riding him because of the attention I was receiving. I was shattered. The next day, he said, "I’ve been rereading your book. There’s love on every page." And then he gave me a beautiful red leather-bound copy of it with the inscription: "From the Critic to the Author." Looking at it I felt a pang. I wondered if it was his admission of what I’d done that he had not. To my wonder and, it appeared, his annoyance, the book wouldn’t go away."

"I don't make the habit of writing to married women, especially if the husband is a dramatic critic, but I had to tell someone (and it might as well be you since you're the author) how much I enjoyed The Dud Avocado. It made me laugh, scream and guffaw (which incidentally is a great name for a law firm). If this was actually your life, I don't know how on earth you got through it."

"I'd always prided myself on how unlike my books were from each other in settings and subject matter. But not until late in my career did I realize that a single thread ran through them, that I'd used the same strategy to catch the reader's attention. It is the old Western movie gimmick: A Stranger Comes to Town. I am that Stranger. Together with the reader I will discover what's going on in that town whether it be Paris, London, New York, Sydney, Tupelo, Ferriday — or in a women's federal prison. And eventually we will make sense of it."

"In London, aside from bit parts, I was unlucky in my career but I was lucky in love. There was a theatrical club much frequented by all the young lions on their way up. They all gathered to eat inexpensively and be made blissful by the lethal house cider. It was there I met Ken Tynan, recently down from Oxford, and already the enfant terrible of Britain’s drama critics. Mutually magnetized, we married three months later. I sent a wire to my parents in New York: "Have married Englishman. Letter follows." I was madly in love with him and stepped happily into the Wonderland of his fame."

"It is the destiny of some good novels to be perpetually rediscovered, and Elaine Dundy’s The Dud Avocado, I fear, is one of them … it bobs to the surface every decade or so, at which time somebody writes an essay about how good it is and somebody else clamors for it to be returned to print, followed in short order by the usual slow retreat into the shadows. In a better-regulated society, of course, the authors of such books would be properly esteemed, and on rare occasions one of them does contrive to clamber into the pantheon … but in the normal course of things, such triumphs are as rare as an honest stump speech. The Dud Avocado is further handicapped by being funny. Americans like comedy but don’t trust it, a fact proved each year when the Oscars are handed out: our national motto seems to be Lord Byron’s "Let us have wine and women, mirth and laughter/Sermons and soda-water the day after." To be sure, The Dud Avocado is perfectly serious, but it preaches no sermons, and what it has to say about life must be read between the punch lines. That was what kept Powell under wraps for so long — nobody thought that a writer so amusing could really be any good, especially if she was also a woman — and it has been working against Elaine Dundy ever since she published The Dud Avocado, her first novel, in 1958."