Juno Temple Quotations

It's quite quick for me to know if I want to play a character or not.

There are two movies where I keep my clothes on. My parents will be very proud. They're challenging characters, which I'm excited about.

I've been really lucky to work with a lot of really great actors, so watching the films back, it's really important to admire the people that you were working with and see their full performance.

You can't really help people until you've helped yourself first.

It's important to not be naive about this world and know that it's not necessarily a good place to be.

You don't always have to look in the distance for what's going on over there, when you actually see what's right in front of you.

For me, there is safety in playing a woman that is very sexualized and having a woman direct you with that.

Men and women just look at sex in very, very different ways.

Being a woman is a very powerful thing, I think, and you don't want to abuse that.

I like to leave the movie theater and still be thinking about the film and questioning why the character did that.

I was brought up in a very open, rural countryside in the middle of nowhere. There were no cell phones. If your lights went out, you were lit by candlelight for a good four days before they can get to you. And so, my imagination was crazy.

I think film should be interactive. But at the same time, it's also great to go see a big popcorn movie and be taken to a complete fantasy world.

There's such an array of brilliant roles for young women. You read all these amazing young women going through different stages in their life - different stages, different fascinations, different textualities, different friendships.

I had this wild imagination. I was never me. All my childhood photos, I'm in fancy dress, playing a Russian refuge or Marvelous Mad Madam Mim.

I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me... I'm so excited about that I think it's gonna be very cool.

I just want to work forever. I absolutely love what I'm doing. I learn all the time from all these amazing artists.

I'm a private person; I stick to my neighbourhood and eat in my little restaurants.

For a woman, body image is always a palpable thing. Weirdly, for me, the only time I don't care is when I'm in character.

I think its so exciting to try anything you possibly can.

What's exciting about watching a movie, when it's finished, is you sometimes you don't recognize yourself, and that's when I'm really proud.

I think it's important to find projects that evoke people into conversation. It's like reading a good book. You want to talk about it.

When I go home to England, my friends all make fun of me for sounding American.

You know, I do projects that I really care about. I hope I'll stand by that until the day I die!

But, I love making independent films. I love it! You create a family, and you sweat, you bleed, you cry, you shout, you laugh and you hug. It's such an extraordinary experience, making independent films.

I think seeing films should be interactive. I'd rather have people see a film that I'm in and either absolutely love it or absolutely hate it, than be like, "Oh, yeah, it was good." That's the worst!

But, I think it's great to be able to work with established directors, and then also first-timers. I feel like you learn from both of them, but then you can go and share your knowledge with each of them. That's really fantastic!

Daniel Radcliffe is one of the hardest working people I have ever encountered and someone that so loves what he's doing and so eager to learn and is so brilliant at what he does.

I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.

A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.

I never want to sell my soul for something I don't believe in. Because guess what? Somebody somewhere in the world would have believed in that part and should be playing it - who am I to not allow that person that opportunity?

I'm so excited to see 'Horns' because it's so many different genres in one film. It's a sci-fi, it's a love story, it's a horror movie, it's a fairy tale.

It's all about the director for me; we have to click. It's a trust thing. I'll say I'm ready to let down my walls. I'll cry for you as long as you need. But you're going to have to hug me afterwards.

I'm not someone who doesn't want to see the films, but I like to see them as an end product when the whole nuance of the character is put together.

There will always be ways to pay my rent, whether I wind up having to be a waitress on the side or whatever it is, but I think it's so important for me to do things that I'm passionate about.

I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?

If people want to criticize a performance, that I understand. I think that's important.

I hadn't really even been thinking about TV. To me, it seemed like such a commitment, almost like a marriage.

On an independent film, you really learn about pace. You have so little time to do things, that you really have to know your scenes.

That's the great thing about the 'Sin City' movies. Each little slot is incredibly meaningful, and each character has their own moment.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.