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With film, so much is in the director’s hands. Once something is cut together – unless you’re in the editing room – you don’t really remember what the alternatives are.

Julia Stiles

I pretty much grew up in public.
JULIA STILES

Grew Much Public
I am forever grateful that I got some training in the theater – it reduces performance anxiety.
JULIA STILES

Anxiety Forever Grateful
I know it sounds earnest, but I do really feel in my bones that acting is just a small part of the equation when you are making a movie. The director really is in charge. Actors are as important or unimportant as the rest of the people around them.
JULIA STILES

Acting Important People
I worked regularly from very early on, and some of it was probably a bit premature.
JULIA STILES

Bits Premature Probably
I did a different production with a different director and Bill Pullman. Oleanna – the one you saw – we were doing right after Bourne Identity or right after it came out.
JULIA STILES

Bills Identity Saws
I remember seeing Janet McTeer in A Doll’s House. My grandmother took me and we had seats in the very back row, but her performance was so powerful – it was very accessible. I felt like I was much closer than I was.
JULIA STILES

Grandmother House Performance Powerful
As an actor, you’re only one little piece of the puzzle; you’re fulfilling someone else’s vision. If you’re involved earlier on, you’re kind of creating your own.
JULIA STILES

Creating Little Vision
The only thing that gets me through any type of pain, emotional or physical, is to make it worthwhile by putting it into my work.
JULIA STILES

Emotional Pain Type
I did a run of a play over the summer in a really tiny theater in New York and that was rejuvenating for me. I directed a short series for Hulu called Paloma and being in an editing room, I learned a lot about acting.
JULIA STILES

Country People Running Summer
I used to struggle a lot with dwelling on how the day at work was, and I would dwell on my performance. Now, I’m like, “Well, that’s over and done with, and I can’t control the outcome, so move on.” I just remember that it’s entertainment I am making.
JULIA STILES

Dwelling Moving Struggle
With film, so much is in the director’s hands. Once something is cut together – unless you’re in the editing room – you don’t really remember what the alternatives are.
JULIA STILES

Cutting Editing Hands
I feel like I have a skill set, but every experience is different and there’s always room for improvement.
JULIA STILES

Different Rooms Skills
I like a director who is very observant and is watching what I’m doing and noticing what I’m doing, but is giving me time to figure it out. They don’t jump right in and give you a note before you’ve had time to really search on your own with how to do a scene.
JULIA STILES

Directors Giving Scene
It was nice that there [ in the Bourne Ultimatum ] was a reference to the relationship . It’s very subtle – it’s actually without dialogue. I do think it’s powerful even without words.
JULIA STILES

Nice Powerful Thinking
Yoga has stopped me from destroying my joints after running. It slows me down. My brain and body can go into overdrive – yoga teaches me to focus on the moment and not get ahead of myself.
JULIA STILES

Focus Running Yoga
In my worst moments, I try to think about loving instead of hating. Creation versus destruction, know what I’m sayin’?
JULIA STILES

Hate Moments Thinking Worst

With film, so much is in the director’s hands. Once something is cut together – unless you’re in the editing room – you don’t really remember what the alternatives are.

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With film, so much is in the director’s hands. Once something is cut together – unless you’re in the editing room – you don’t really remember what the alternatives are.

Related Topics

Popular Authors

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