Glenn Close Poster

Quotes (104)

  • I've often been mistaken for Meryl Streep, although never on Oscar night.
  • I never wanted to be a man. I feel sorry for them.
  • It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.
  • [on her 1984 Tony win for playing Annie in "The Real Thing"] It was the cherry on the cake for one of the great experiences of my career.
  • I love the chemistry that can be created onstage between the actors and the audience. It's molecular even, the energies that can go back and forth. I started in theater. and when I first went into movies I felt that my energy was going to blow out the camera.
  • [1996, on her role in Mary Reilly (1996)] I called Stephen Frears, who had directed me in Dangerous Liaisons (1988), and I said, 'C'mon, everyone from Dangerous is in this film, I want a part.' I felt left out. So he gave me the part of a bordello owner, and I thought it would take a week-go to London, have some fun, and come home. But it was hard. They wanted this Liverpudlian accent and Stephen was great, because he kept pushing me to do stuff that I didn't know how to do. The character, I think, was quite interesting. But she's in only three scenes."
  • [1996, on her role in The Paper (1994)] I love Ron Howard, he's a wonderful director, incredibly prepared. But I have to criticize my performance in that movie. It all took place in one day. My character was having a bad day, so she's having a bad day throughout the whole movie. But this was a comedy, and I think I was too serious, too dense. Yes, I think that describes my failure there.
  • [1996, on Dangerous Liaisons (1988)] We filmed in France and I had given birth to Annie seven weeks before we started preparing for the film. For the first time in my life, I had these great breasts. It'll never happen again, but for one brief, shining season, I had the most incredible breasts. James Acheson, the costume designer, who won the Oscar this year for Restoration (1995), did the costumes, and I just loved it because they pushed my breasts up and made me have cleavage. I guess I should be saying something more intellectual about the film, but I just remembered how great it felt to have those breasts.
  • [1996, on Fatal Attraction (1987)] The original ending was a gorgeous piece of film noir. She kills herself, but makes sure that his prints are all over the knife, and he gets arrested. He knows he didn't do it, but he's going to jail anyway. But audiences wanted some kind of cathartic ending, so we went back months later and shot the ending that's in the movie now.
  • When I hear that somebody's difficult, I think, Oh, I can't wait to work with them.
  • Celebrity is death - celebrity - that's the worst thing that can happen to an actor.
  • The best thing I have is the knife from Fatal Attraction (1987). I hung it in my kitchen. It's my way of saying, Don't mess with me.
  • It is very difficult for girls. They're told to look one way, but to act another way.
  • It always amazes me to think that every house on every street is full of so many stories; so many triumphs and tragedies, and all we see are yards and driveways.
  • [on her Oscar-nominated role as Albert Nobbs] Albert is a survivor and I think she chose an invisible job. An invisible person chose an invisible job. In nineteenth-century Victorian times, servants weren't supposed to to look at anybody in the eye. They don't see you, they don't talk to you, you don't talk to them.
  • [on bringing Albert Nobbs (2011) to the screen] I really hope it engenders a lot of conversation because I believe there are a lot of people who put on faces. We all do it, every time we walk out the door. And there are a lot of people who have to hide who they are. And I think this story speaks to that.
  • All great art comes from a sense of outrage.
  • What's so fascinating about people is what they don't show. People are masters at it; usually actors show too much.
  • Good live theater disturbs molecules. You create an energy source around yourself and it alternates between you and the audience. Anybody who sees live theater should come out a little rearranged.
  • I am extremely shy. I am not happy in crowds of people.
  • You have to love the characters you play, even if no one else does.
  • As an actor, I go where the good writing is. That's the bottom line.
  • Acting, to me, is about the incredible adventure of examining the landscape of human heart and soul. That's basically what we do.
  • The word diva has a negative connotation. My definition of a diva is somebody whose talent does not match what they're trying to play, so all this temperament comes out.
  • We have to be vulnerable as actors, but we have to protect ourselves.
  • I get bored talking about myself, but I can talk about the work.
  • Good roles are hard to find no matter what age.
  • I think there are certain actors that have that kind of energy about them, that taking over a room energy.
  • I've been sacrificing my life for my work for 30 years, and now I want it the other way around. I want to find work that fits into my life and that would be based here.
  • [on Bette Davis] She wasn't trying to please people. She didn't say, "Love me." She had the courage to play unattractive characters with only the hope that people understand them in the end.
  • I don't have the body or the face for romantic comedies, so I've never been offered those. The challenge is that a lot of people see you only as your last character, so you're constantly competing with whatever your last movie was.
  • With the hugely talented women I've worked with or observed, it's not a question about temperament or ego; it's a question about getting it right. If they've got a reputation for being difficult it's usually because they just don't suffer fools.
  • I'm an actor, that's my contribution.
  • It puts you in a kind of a strange situation where everybody is looking at every little thing you do.
  • There's something about a catharsis that is very important.
  • [on the stigma of mental illness] Change a mind and you can change a life.
  • [on mental illness] It is an odd paradox that a society, which can now speak openly and unabashedly about topics that were once unspeakable, still remains largely silent when it comes to mental illness. Illnesses that were once discussed only in hushed tones are now part of healthy conversation and activism. Yet when it comes to bipolar disorder, PTSD, schizophrenia or depression, an uncharacteristic coyness takes over. We often say nothing. And so we marginalize the people who most need our acceptance. Our society ought to understand that many people with mental illness, given the right treatment, can be full participants in our society.
  • What mental health needs is more sunlight, more candor, more unashamed conversation.
  • All your life you think 60 is ancient, and all of a sudden you find you're 60 and you don't really feel that different. I feel stronger and more engaged. This is the best time of my life.
  • A person can never really fail unless they give up.
  • It's not good to be in a situation where people don't want to direct you or don't want to question something.
  • Listen to that little voice that says, 'Mmm, I don't think so.' Because when you override that, you basically override who you are.
  • I don't live in Hollywood. I try to live a quiet life. I don't go out to a lot of events, and I don't go out buying a lot of clothes.
  • In some ways, gender should be irrelevant. It shouldn't matter who someone is connected to and finds love and a life with. I hope [full federal equality] will come to be a reality for the LGBT world.
  • I find it quite amusing that I can frighten children by just saying, 'puppies.' Usually they're disappointed I don't actually have black and white hair.
  • Learn to walk in each other's shoes. In a world that is depending more and more on screens of various sizes, don't forget to look into each other's faces. Don't forget the power of two eyes looking into two other eyes, and don't forget to listen to each other's voices.
  • The Oscars for me is a huge honor to be recognized for whatever you've done, the body of work or movie you're being recognized for. But I'm not alone in my profession in thinking it's a bit crazy to say who's better than the other one because you're talking about art and artists.
  • I love that I'm an honorary Doctor of Laws having just played a lawyer for five years.
  • My dad was a surgeon and a very high achiever, and being an actress probably isn't a career that he had thought for me. So he actually told me that I'd better learn shorthand as a backup. I took such a course during college and I was really bad at it.
  • Love makes no sense at all. But it's the most powerful and amazing force in the entire universe.
  • I think it is a great privilege, to be an actor. I think our job is to make people believe. Everyone wants to believe something. And besides helping people believe, I think we can remind people what it means to be a human being; how connected we are, how we need love, how hate is destructive. That to me is a privilege.
  • [on the process of making a good movie] Start with great writing, then surround yourself with people worth spending time with.
  • It makes me sad that I'll never play Juliet. But I don't spend much time thinking about it.
  • [on Fatal Attraction (1987)] People still come up to me and say, "You scared the shit out of me."
  • I always thought I was overweight. I look back and think I was a totally unfinished, insecure person. I was always morbidly shy outside of my family, and it's still pretty much my idea of hell to go into a room full of people holding cocktail glasses.
  • [on becoming a mother] It's just balance all the time. I'm very happy to have work that my daughter can observe that I love. She'll see somebody who's very involved and passionate about what she does, and hopefully someday she'll have that same kind of fulfillment.
  • [on Guardians of the Galaxy (2014)] I'm doing that because it will then afford me to go do the other kind of movies that I really love. And hopefully I will have a great time. It'll be a new experience for me, but practically speaking it will mean that I can do those smaller movies and it'll be okay.
  • [on theatre] To me, it's where you really develop as an artist. I have a huge respect for film acting, but onstage, you don't have editors and you don't have sound people. You don't have the close-up. You're out there with your fellow actors and the audience. It's a chemical mixture that's happened for centuries! There's nothing for me that really substitutes that.
  • [on Katharine Hepburn telling her she was talented but that her feet were too big for audiences to take her seriously as an actress] I had to laugh when I read that. I've been thinking about writing an Op Ed piece about her. A few years ago I participated in a Kennedy Center Honors tribute to her and she wrote me a wonderful letter afterwards. I know she came to see us three times when I was on Broadway in "The Real Thing." That's where the feet thing came from. I was barefoot in it.
  • [on playing Jenny Fields] It's easier to be 155 than it is to be 58. 58 for a woman is a very subtle age because it's before your jowls start hanging, before there are big bags under your eyes, before any of the stereotypical age stuff. My mother is 58, and across the room you don't see a line in her face. She's an extremely handsome woman, but up close, there are a great many little lines.
  • Without forgiveness, you just perpetuate what has been there before.
  • As an actress I've terrified men. And I've certainly terrified children. But I've yet to terrify women.
  • [on her character on Damages (2007)] Patty is interesting. People will say "Oh, she's evil" and "She's such a bitch." Again, she's a very strong capable woman. Yes, she pushes the envelope of what's moral -- she doesn't seem to have any basis of morality at times. I remember reading something by Alan Dershowitz when I was first researching this, saying there's a lot of gray area in the law. Patty just lives in that gray area more than maybe any other character I've played, but in spite of that, she still, I think, is a symbol of power for women and I love that.
  • [on acting on stage] I inhale the audience and then I begin.
  • [on her character on Damages (2007)] Even though there is a huge entertainment quotient in the character of Patty Hewes, I am very psyched to play a woman who is unapologetic about her power and success.
  • Contrary to the cliché, there's little that frightens us women.
  • It's best to not compare your career to anyone else's. You can put yourself through agony comparing yourself to someone else. You have to ultimately own your choices and know that that's your life and those are your choices.
  • You can't develop unless you take a risk. It's very healthy to be scared, I think you should do things that scare you on a regular basis.
  • Acting is something I always knew I could do. I always lived in a world of pretend as a child.
  • There's so many women in the world who feel powerless. So if you play a character who embraces power, as a woman, it's effective and I think for some people quite frightening!
  • [on her role as a lesbian soldier in the movie Serving in Silence: The Margarethe Cammermeyer Story (1995)] The scene at the end, although I was very open minded and supportive, when Judy Davis and I kiss at the end, I really felt that for 30 seconds, maybe a minute, what it really felt like to be attracted to my own gender. It was kind of revelatory for me. I'll never forget it.
  • I have known many gay people and they're some of my best friends. We all went through the AIDS scourge, I've lost many friends and I've always been highly sympathetic to the plights of the gay community.
  • Six degrees of separation, it's more like two in New York city.
  • [on playing Norma Desmond in Sunset Boulevard] I always felt like I was the weakest singer. I didn't have the fabulous voice that Elaine Page or Betty Buckley had, so it was daunting but I worked really really hard for this role.
  • [on marriage] Too many women define themselves in terms of a man. I think of men and women as two different species. Katharine Hepburn said they should live next door and visit each other once in a while. Not a bad idea.
  • When I did TV as a young actor, people said it would kill my movie career. But if it's great writing, why not do it?
  • An actor's goal is not to be interesting. That is the script's goal! Yours is to be truthful.
  • I'm not a fashion icon and I don't want to be. I'm a terrible shopper. I freeze when I walk into a huge department store. I just run out of there. I've been on the best-dressed list and the worst-dressed list. I kind of was prouder of the worst-dressed list.
  • [on Reversal of Fortune (1990)] I found that film, actually, very difficult, because I thought Sunny von Bülow was not written with as much empathy as she deserved. I was dying to talk to people who knew her, but they were intensely protective of her, so I never was able to talk to people about who this woman really was. I think in many ways she was a woman who was caught in a life she was never really suited for. I heard she walked like a ballerina, that she was very shy. But none of that was really brought up in the script. It was one of the most brilliant scripts, but I think it was written much more from a man's point of view, from Alan Dershowitz's point of view, than from Sunny's.
  • [on Madonna] I have been to her tours since 1993 and met her backstage in New York during her Confession Tour. She is my favorite performer, I love her. There will never be another Madonna in my lifetime. I was also privileged to see her rehearse her Sticky and Sweet tour when I was filming Damages in Brooklyn.
  • [on the lack of roles for older women in movies] It's definitely an aspect of Hollywood. Everyone wants f - -able women in their movies. In this culture, f - -able women are young and thin and up to maybe 34 or 35.
  • [on playing Eleanor in The Lion in Winter (2003)] I love history, I read everything I can get my hands on. Eleanor of Aquitaine is almost on par with-she was cut out of the same cloth as-Elizabeth I. An extraordinary woman out of history, incredibly strong. There are some scenes in that that I'm as proud of as anything I've ever done. It's a powerful woman trying to be manipulated by a man and just turning around and saying, "NO. F--k you!"
  • [on her role as Alex Forrest in Fatal Attraction (1987)] Fatal Attraction was really the first part that took me away from the good, nurturing women roles. I did more preparation for that film than I've ever done, talking to psychiatrists about why people would behave that way. Since then, I've been contacted by professors who teach psychiatry, saying this is textbook behavior for a borderline personality. But I wasn't playing that. She was not someone who was evil, she was someone who was desperately in need of help. I was shocked when that movie came out, that the feminists all thought she was terrible. I guess it's because they looked at it as trashing single, working women. But you don't play a generality like that, you play a specific person.
  • [on older actresses in movies] Films operate on the level of dreams and fears and projections, so when people imagine themselves, they imagine themselves in their glamorous prime. I think if there were an enormous audience clamoring for stories that centered on 50-year-old women, then these directors would be killing themselves out here to find those scripts.
  • Fads will come and go and people will be hot and cold, but the thing you have to fight for tenaciously is to choose things for very personal reasons. That will be the sum of your career, not because you think something will make a lot of money or somebody thinks it'll be good for you.
  • I think life is a series of difficult choices, and then life throws the inevitable curveball. I think more and more, getting through life is finding a sense of humor and being this wise person who laughs at everything.
  • Meryl (Streep) gave me this gift that made me sob in my (Sunset Boulevard) dressing room. Thank God I had already fixed my makeup, it would have set me back 30 minutes. She had this beautiful pair of pearl earrings that I first noticed on her when we first met and I thought they were so beautiful. A week later, a package arrived at the stage door and in it were these beautiful antique pearls with a note saying, 'They're battered but beautiful, just like the best of us.' It was the greatest thing anyone has ever given me.
  • [When asked if she's worried about getting good parts as she ages] No, because I am privileged, and I'm also working my ass off now. There's also so many other things I'm interested in right now.
  • Robin Williams was my friend. He was the star of the first movie I ever did called The World According to Garp (1982). George Roy Hill was our director and he believed in Robin's transcendent talent. Robin was seriously determined to become a film actor and George took his desire seriously. It was wonderful to watch. As we mourn his tragic death, we must remember him for the great waves of laughter that he was able to illicit from us, how his humor and insights--though they came from a place of pain and uncertainty---connected us and reminded us of how flawed and fragile...how human we are...how we are capable of moments of inspired transcendence and others of unspeakable despair. I am so deeply thankful that this dearly loved man graced this particular planet.
  • [on her acting style] Good acting I think is like being a magician, in that you make people believe; because it's only when they believe that they are moved. And I want people to get emotionally involved. I think technique is important but it isn't everything. You can have a great technical actor who'll leave people cold. That's not my idea of great acting. As audience, I don't want to be aware of acting.
  • I am really loving getting to the age where I have earned some gravitas in my profession, where I have learned my craft, and I am respected for that.
  • [on her profession] The danger is that there is so much noise around red carpets these days, that is what young people think it's all about; they want to get out of a limo in a beautiful dress, with all those cameras popping as they walk down the red carpet. That, to me, is the least interesting aspect of what I do.
  • Oreos are my favorite. I pry them apart and scrape the cream out with my teeth and then eat the chocolate. I've loved them my entire life.
  • [when asked if there was a rivalry between her and Meryl Streep] Who can compete with 17 Oscar nominations? You've got to let it go. If I didn't, I would have combusted long ago.
  • [Asked if she regrets not having more children] I never thought about it much; I have a magnificent daughter. Having more would have been more of a challenge, and I wouldn't have wanted to be a single parent with more children.
  • [on the ending of Fatal Attraction (1987)] I don't think it would've become the blockbuster that it did if they hadn't changed the ending - if they didn't give the audience a sense of catharsis. It was only by killing Alex that order could be restored to the family. Americans like that. They like neat endings.
  • Actors must maintain a child's appetite for mimicry, for demanding attention, and above all, for playing.
  • I've wanted to do a movie with Disney since I was seven years old. I was convinced that if I presented myself to Walt Disney and knocked on his front door that he would immediately put me in his movies.
  • TV and film used to be very different. I think the influence of the BBC and the emergence of HBO has certainly changed the landscape of American television and has pushed for higher quality programs.
  • [on being raised in the cult group MRA] I have long forgiven my parents for any of this. They had their reasons for doing what they did, and I understand them. It had terrible effects on their kids, but that's the way it is. We all try to survive, right? And I think what actually saved me more than anything was my desire to be an actress.
  • We're all very good at survival. But many times, we sacrifice important parts of what it is to be human just to endure.
  • [on link=nm0000031]] I had always admired her because she seemed to know who she was. In a profession where that's uncommon.
  • [on Jonathan Pryce] I was thrilled to work with Jonathan and I was very grateful he supported me in a movie called The Wife. We couldn't find an American actor who would do that.
  • [on The Wife (2017)] When we were doing screenings of this in LA so many people said: 'Oh my God, this is like the kind of film we used to make'. It is closer to something like a Mike Nichols film from the 1970s or Five Easy Pieces (1970) than the films we are making today. But it's an independent film. And my definition of an independent film is a film that almost doesn't get made.