Top 55 Carol Kane Quotes

I didn’t decide to be a character actress.

I took parts that either I was offered or felt I could do a good job with.

In high school, I did the ‘The Tempest’ at Lincoln Center for Joe Papp.

I know I’ll work, but not when or where. I never know what to pack.

As I get older, I start to look back at the field that I’ve crossed and realize that it was a mine field.

I don’t like to discuss my work in a lot of detail; I’m afraid of dissecting it in a way that is not good for me.

There’s nothing obvious or predictable in acting. That’s what it means to be in this profession.

The thing about the four-camera shows is that it’s kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that’s a great thing, too.

You can fake a lot of stuff, but you can’t fake if the story isn’t there and if the writing isn’t good.

While filming ‘Annie Hall,’ I never really hung out with Woody Allen.

An actor really suffers when the director isn’t prepared because you start running out of time for the shoot and then have to do it fast.

I happen to think I look best in black.

My first movie was with Mike Nichols.

It’s very hard to remain a student in life.

I try to construct some kind of backstory for my character so that I have an idea of the life of that character – not just from the moment when the scene starts, but from before.

If I had the science and math capabilities, I would have liked to be a vet, but I don’t! I don’t have those capabilities.

When you’re doing a legitimate play, if you have a company of 12, it’s considered a big cast.

I like the full spectrum of roles.

All of my films have changed my life. I’ve met so many people and broadened my world view.

I think most actors are very impressionable, and that’s part of what we do is soak up other’s behavior.

I always wanted to be a good actress and a serious actress. I wasn’t in the profession to, quote-unquote, meet the stars.

That’s when the great stuff happens, when you’re not checking yourself all the time, being critical of yourself and what other people are doing.

For very few people is there a time when you, quote unquote, make it.

It’s like life: you have both comedy and drama. There’s a balance, and I’m lucky enough to have it in my work.

I was this extremely dramatic actress. And then, suddenly, I was doing comedy.

I started acting young, and I was a dramatic actress.

Sometimes every single element of a character is a torturous discovery.

‘Hester Street’ was my most complete character study, but ‘Annie Hall’ and ‘The Last Detail’ were also great.

For me, the most important thing is the writing – and certainly the director. But if the writing isn’t there, it doesn’t matter who the director is!

I think therapy can be very revealing and useful for actors. You start to dig deep and understand certain mechanisms that you hadn’t been aware of before and, you know, meanings behind things.

I only eat things that you don’t have to kill.

People who are interested in the arts and theater are such a minority.

I was taught by a lot of great comedy writers to go for the reality in a role, and the comedy will come through.

There is no restaurant anywhere in the world where I have been that I haven’t been able to find something to eat.

I am a very simple cook, I just do the minimum amount. I’m mostly a vegetarian, so I just steam a lot of vegetables.

I just love the black and white movies.

In my job, I worry a lot and try and stay calm and open. It sometimes works.

I don’t like somebody saying to me in their performance, ‘Look at this. Isn’t this funny?’ I pray that I don’t do that. I’m sure I fall off the horse every once in a while, but I try not to.

I don’t like that I’m my own commodity, that I am what I sell.

I’m one of those people that if I go to a party, I can’t remember my mother’s name because I’m so nervous in a social situation.

If I had not made strategic choices, I would have had far more access to dramatic roles. But the one thing I don’t regret, even about bad choices, is that there’s always something you can get out of it.

I don’t think, ‘Oh, you know, I’m crazy and zany.’

New York, to me, even though I grew up here, there’s something magical about it. I remember, every time I used to go to L.A. for work, when I’d come back and get off the plane and be driving towards the landscape of the city, I’d be beside myself with joy. It doesn’t matter how many times!

I think it’s nourishing to do both comedy and drama.

I didn’t know I wanted to go into entertainment, but I knew I wanted to be on stage when I was about seven. I saw a play, like most kids do, at a children’s theater in Cleveland, and I just saw them up there, and I thought, ‘that’s where I want to be.’

You just can’t make bad writing look good. But if you have good writing, you just say it, and it’s almost done.

When I had my dogs, I used to spend a lot of time in Central Park, which is a great place to be alone among a lot of people.

I don’t put together cars, I put together people.

It’s hard to regulate the speed at which you can achieve something creative and emotional.

I have fun at work.

I’ve been lucky in my career. I’ve worked with some of the greatest filmmakers and actors around. I’m so proud of some of my work.

Work is the most nourishing thing so far in my life.

‘Taxi’ made a big difference because it got me into comedy.

I want to be Geraldine Page; I want to be one of the greats.

I don’t regret what I’ve done but some of the things I didn’t do.