Karen Allen Quotations

I've always done things the hard way. I was born like a piece of tangled yarn. The job is trying to untangle it, and I'll probably go on doing it for the rest of my life.

I just felt like I had to create a life for myself where I was more independent.

Eventually you love people - friends or lovers - because of their flaws.

I'm about as healthy as a person can be. I quit smoking seven or eight years ago.

You know, I don't really understand a suburban environment. I want to be out in the woods, I want to be where it's wild, I want to wake up and hear birds, I want to walk outside and see a gaggle of turkeys bouncing across my lawn - I want to be someplace like that - or I want to be right in the middle of an urban environment.

I said to myself, 'I've waited a long time in my life to have a child, and I'm missing it, I want to continue to have a career, but not this way.

As far as acting in films, there is not much out there that is very interesting to do. The ones that are interesting to me are independent films and they have trouble raising money. With people putting their money into blockbusters, there is not much left for the independents.

I thought, I need to reinvent myself. I want every day of life to be wonderful, fascinating, interesting, creative. And what am I gonna do to make that happen?

A lot of times when I've been offered film series and stuff, if they shoot in Los Angeles, I lose interest.

I've never done anything for money. My first love is things of limited commercial appeal. I could be happy doing Shakespeare for the rest of my life.

Idleness does drive me crazy, but I'd rather read or write than do anything just to work. A kind of respect has been instilled in me for acting: I love it too much to ever have a bad relationship with it.

My son was born somewhat late in my life and I just found myself really feeling like I didn't want to miss out on being a parent and being with him, and not wanting a situation where I was constantly pulled back and forth between being present, and having all these other pressures and considerations.

I don't necessarily like being defined by my profession.

If there are no other wonderful roles that come my way, I have a quite an interesting, dynamic life.

Let's just say I decided that while my son is young I don't want to do projects that would take me away for months.

People want to see a movie that casts a mature woman across from a mature man.

There's something so wonderful about being an actor in New York.

I don't know if I've ever played a character who's close to me. There have been some elements of myself in different roles. Sometimes, I show one side of myself and then completely conceal the other.

I feel as though I would be delighted to come back into working in the film world, and working in the theater world again. I'm just gonna see what happens.

I find myself really feeling like it's possible that maybe the greater contribution I'm going to be able to make through this next phase of my life might be as a writer writing wonderful parts for women, or even writing wonderful parts for myself, you know?

I loved living and breathing theatre so much that I decided I had to find a way to bring my desire to act and my ability to support myself together. I'd run through the possibilities in Washington, so that meant moving to New York.

I'm from a generation of fantastic actresses. It's a big pool of really wonderful actresses, and so many of them we never even get to see on the screen anymore.

The secrecy thing has gotten to be more and more prevalent in films, and maybe that's good. It's nice to go see a film and not know anything about it. Sometimes I feel like we know too much about films.

The people with pets talk to them, they're less isolated and their lives are different with an animal by their side,

There are days he just reads my mind.

We have backed off the big push to get computers in primary grades, ... We do have things where kids use technology before they leave fifth grade. But previous studies of the introduction of technology at other schools haven't shown a huge value in learning as a result. When we put something in the classroom, it absolutely has to further what kids need to know. I just don't want to go off in a tangent in one direction without being completely clear that it will pay off for all the kids.

Someone born in Brazil is an American. Anyone born on the western hemisphere is an American. American is not a nationality.

People can experience loss of memory, daytime sleepiness. They can also have a difficulty concentrating.

You don't want to be moving into a house and have nothing.

At first, we're learning for ourselves, ... We're looking for things that we'll work on for the classroom. We're piggybacking on what other people have already done, and then we will serve as a resource to other people.

I back (the high school project) 100 percent.

I've had so many people just come up to me and say, 'When you came up on the screen, everybody in the theater applauded.' It's just so sweet, really.

When independent films break through and actually make it into any level of mainstream-ness or get seen by people or find a life actually in theaters, it's extraordinary. And it doesn't happen that often.

When I was in my 20s and 30s, there was such a variety and diversity of types of films that you could see. So many of them were really more about the human condition and about relationships between people, and they were smaller films that had a much greater impact on me as a human being.

CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.

I'm always surprised when people say, "Oh, it got such mixed reviews." I guess I didn't read them.

I have to say from an actor's perspective, to work with a director who has been an actor through most of their career is a pleasure. They generally have a very deep understanding of the process of what you're doing, of how you are building and exploring the character.

I was quite eager to work, anytime somebody was offering me a job, if I liked the role. Because I was always very discriminating from the very beginning, in the sense that I had absolutely no problem saying no to jobs when they came along if somehow they didn't fit into my universe - whatever that was.

I was always drawn toward the Actor's Studio. I studied at the Lee Strasberg Institute when I first came to New York. One of my favorite teachers was one of Al [Pachino]'s teachers, a guy named Charlie Laughton, who was just a wonderful, wonderful man.

For me, the motivation really was to work with Al Pacino. To me, that seemed like an incredible opportunity, just a learning opportunity because I thought so highly of him.

There is a difference when you work with actors who have worked on the stage. When we're out there in front of an audience eight times a week, you can't do it on your own.

If you just work on your upper body, you're not going to be a full-range dancer or performer. You've got to work in all directions as much as you possibly can.

As actors, the magic is in the almost spiritual experience to really enter another world, to really enter a belief of being in another person's shoes and to really take on their experiences as someone else has written them and imagined them. It's kind of a sacred thing. It's a very spiritual experience. That in itself for me is the main thing that keeps me coming back to it. I like to travel, but for me, this is the greatest travel.

I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.

When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal.

In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."

I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it?

Caregivers of those with a traumatic brain injury had their blood pressure recorded at certain time of day -- at meals and during other activities, .. The blood pressure of the people who had adopted the pets went down dramatically.

You want to move into worlds you've never been in before. It would be like going to the same restaurant all the time or going to the same place for vacation all the time. Where is the adventure in that?

Sometimes I think candor is the only kindness.

Unfortunately, I feel as actors we have to fight for the right to really go in as many directions as possible.

Scripts [are] kind of a bare bones type of reading material.

I watch many, many, many independent films every year that you see once in a film festival and they're never heard of ever again. Many of them are very, very good.

I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.

I was so lucky. I was very broke and I was taking classes at Lee Strasberg's Institute and I saw a 3 X 5 index card on the bulletin board advertising for college-aged girls for a film. That was Animal House.