Catherine Oxenberg Quotes

I'm not really satisfied with anything I have written to date.

I find it hard to do small roles sometimes.

There are roles I want that my agency might not want me to do because of the subject matter or whatever. Or there are roles that people won't bring to me because they don't think I'll do it. And that is a big strain because an actor wants to act.

I've had some ambivalent feelings about being an actor. I don't know that I've ever been totally and completely comfortable with it.

As an entertainer, a comedy guy, whatever, you're never gonna be truly 100-percent happy with anything.

I lived with this tremendous fear of failure because my father was a playwright and a director, and I think he did a couple of things as a child as an actor as well, and he... he failed, basically.

I can't think of a more pathetic situation for an actor than to do a film and not connect to it. And I pray to God that I never face that situation.

I couldn't think of anything worse than hating your own music and having to play it every night. It would be a nightmare.

It is hard to watch myself. I'm hypercritical, and it's difficult to watch a performance when I may end up being at odds with it - wishing I'd done something differently or that they had edited it a certain way.

I don't wanna play this kind of cartoon character anymore.

It always makes me sad when I think of how I saw Wagner wasting his vitality, not only by singing their parts to some of his artists, but acting out the smallest details, and of how few they were who were responsive to his wishes.

I'm disappointed about how my career ended.

I was tired of illustration. You'd work so hard on a commission and it would go in to a magazine, and you'd turn the page and it was gone.

I left 'Dr Who' after 18 months, as my character was going nowhere. In truth, I wished I had never gone into it. Afterwards, all the scripts that came my way were for 15-year olds.

Having to make a blockbuster every time puts unhealthy pressure on creatives. The pressure on the filmmakers is so intense, I think it stifles the creativity.

That was my one big Hollywood hit, but, in a way, it hurt my picture career. After that, I was typecast as a lion, and there just weren't many parts for lions.

I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.

Well, thing is, after they cancelled 'Zen', I didn't work for eight months. And in that case, it was not my choice. After I've done something that I'm really proud of and I think changes the way I'm perceived, the immediate reaction is: nothing.

But a lot of writers - and I'm one of them - do tend to feel dissatisfied. It makes you a little hard to live with, but it's a goad and does keep you alert and restless.

I feel that's a good thing as an actor that you do not feel satisfied. Whenever I go back and watch myself on screen, I find multiple reasons to redo that scene. That's an occupational hazard that most actors face. You can never come to terms with it.

By the time I'm done with a project, it's taken so long that I usually don't even like it anymore. I only see the things I wish I'd done differently.

I've spent a lot of time playing roles that didn't really challenge me. I suppose every actor feels that way.

I'd be on stage in Ireland performing for thousands of people and just not believing in what I'm doing at all. And it hurt, it hurt badly. I knew every day that I couldn't continue this way.

It was frustrating at Arsenal, obviously. For a year and a half, it went from bad to worse. I could no longer continue like that. I could not bring myself to spend another year at Arsenal and remain a reserve, even a second reserve.

In 2005, I played Count Fosco in 'The Woman In White' on Broadway. It was a disaster. I was physically run down and terribly homesick and I just knew I had to leave. I lasted three months before the producers released me.