Julia Ormond Quotations

I feel that David took a risk with me. I have a sense that by starting off in the theatre and going off to do films you are seen to sell out in some way. I don't hold truck with that, but you can't stop people from feeling it.

I found it all very scary. This fairytale gets built around you - as if you've been walking through the streets and then Sydney Pollack sees you and goes, 'I'll put you in something!'

The odd thing for me is the focus on looks which happened in the States. I'd always felt that was not going to be a strong point.

That made me feel very disturbed, because it never seemed to be about how much hard work was involved. Ever. It was about... 'hazel eyes'. It does help if you can brush that stuff off.

For sure, you don't believe the good stuff. I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.

I have a really hard time stepping out of a limousine and confronting a sh*tload of photographers who are all screaming at you, because it's like saying, 'yeah, yeah, here I am!'

It was a fantastic learning experience and OK, I got slammed because I wasn't Audrey Hepburn but you could have predicted that, really, if you'd opened your eyes wide enough.

At first I was a bit indignant about it, and then I realised, 'No, that's what people want, so that's what is given.' But it's not in your control. It's just what happens to you, and that's what's frightening.

And it's not that going out for a hack is wrong or bad, I certainly don't view it as that; it's just that there's something about the dressage, being put through your paces, that makes you better.

When really you've gone to drama school and rep and then you've come to London and gone to auditions and you've worked, solidly, for years. But that all gets forgotten.

Sex, love and death are universal and timeless dramatic themes.

For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.

Enslavement is when one person completely controls another person, uses violence or violent threats to maintain that control, exploits them economically, and pays them effectively nothing. Trafficking in persons is a process of enslaving someone.

I get very protective of kids on set. I always make a point of telling kids that anything that makes them feel unsafe or concerned they should just speak up about, and then keep an eye on times when that could present an issue.

I'd say that kids working on sets, even if it's Bambi, need to be allowed to be kids, even if they're working, not become little adults - that to me can be distorting to kids as an experience.

Forever turned out to be too long.

The product supply chain, from source material to store, is an organizing map for delivering human rights.

More isnt always better, Linus. Sometimes its just more.

Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.

If you do anything for too long, it starts to lack edge, to become too easy. Easy is the kiss of death.