Linda Cardellini Quotes

Maybe it's legitimate criticism, though it can be hurtful. Maybe I haven't paid sufficient attention to the people with whom I would have a natural affinity as a liberal, and they feel let down by that.

If a reader comes across a story that makes them cry, you can be sure that the writer felt every single thing that makes the reader cry.

August [Wilson] elevates in us is the average man in a way that is heroic and real and human. What you do is you sit with our pathology, you invest in our humanity. We're not walking around like walking symbols like we mean something larger. We're just moving throughout our lives and that's the power of the piece. That's revolutionary.

If you have ever clothed another with woe, as with a garment of pain, you will never be quite as happy as though you had not done that thing.

I think unintentionally I gravitate towards concepts and topics that hit home or are something real we can all relate to.

When you play a real person, you feel a sense of responsibility that obviously you don't feel when you're playing a fictional character.

I find it difficult to feel responsible for the suffering of others. That's why I find war so hard to bear. It's the same with animals: I feel the less harm I do, the lighter my heart. I love a light heart. And when I know I'm causing suffering, I feel the heaviness of it. It's a physical pain. So it's self-interest that I don't want to cause harm.

By making the place and the people and the feelings real, by the time someone closes the cover of one of my books, they have, hopefully, felt all of the emotions of life.

How could he convey to someone who'd never even met her the way she always smelled like rain, or how his stomach knotted up every time he saw her shake loose her hair from its braid? How could he describe how it felt when she finished his sentences, turnec the mug they were sharing so that her mouth landed where his had been? How did he explain the way they could be in a locker room, or underwater, or in the piney woods of Maine, bus as long as Em was with him, he was at home?

It touched me to be trusted with something terrible.

I love playing real people. It's a huge challenge and responsibility which I take on board and which I relish. It also scares me to death. Give me a totally fictional character and I don't have the same sort of responsibility. If, though, I play Sigmund Freud or Robert Maxwell or whoever then there is a responsibility.

Everytime you see a flood like that on the news you tell yourself: That's it. That's my heart.

I'm often moved by the circumstances around some of my characters, but I don't think I've actually cried watching myself.

The Catcher in the Rye had such a deep impact on me, because it felt like it was just Holden and me. I didn't feel like any other person had read that book. It felt like my secret. Writing that I identify with feels like it's just me and the writer. So I hope that whoever is reading what I do feels like that.

People who haven't experienced major setbacks sometimes feel that their hurts are somehow less legitimate or real.

The reason that gets me is, and the greatest part of my job and what I do, is the humanity of it and there's certain moments where that really cuts through.

To care for anyone else enough to make their problems one's own, is ever the beginning of one's real ethical development.

I don't consider myself very brave in any sense. I'm interested in this kind of behavior. My job is to try to make it realistic and emotionally resonant. That's the most challenging thing, to bring emotional resonance to what you do as an actor.

Fine words lack all meaning when we are confronted by real suffering.

Till the first friend dies, we think our ecstasy impersonal, but then discover that he was the cup from which we drank it, itself as yet unknown.

That's the music that I play at home all the time, Joni Mitchell. Court and Spark I love because I'd always hoped that she'd work with a band. But the main thing with Joni is that she's able to look at something that's happened to her, draw back and crystallize the whole situation, then write about it. She brings tears to my eyes, what more can I say? It's bloody eerie. I can relate so much to what she says. "Now old friends are acting strange/They shake their heads/They say I've changed."

When somebody is talking to you about something terrible on set with lines, and you believe what he says, sometimes it gives a strange vibe, because you wonder when that person is talking if he's talking about something that really happened to him and he's using the character.

It's just hard when you're someone who's like hurting a lot of people or deceiving people who trust you, not to bring some of that home with you or inside of you.

Well, besides being entertained, I’d like to move them emotionally. I mean I really want to uplift them. I want to look down at the audience, and this is personal experiences now I’m going to tell you. It’s like you look down at the audience and see people smiling, crying, hugging each other. I want them on their way home to feel empowered like they can do anything.

Construed as turf, home just seems a provisional claim, a designation you make upon a place, not one it makes on you. A certain set of buildings, a glimpsed, smudged window-view across a schoolyard, a musty aroma sniffed behind a garage when you were a child, all of which come crowding in upon your latter-day senses -- those are pungent things and vivid, even consoling. But to me they are also inert and nostalgic and unlikely to connect you to the real, to that essence art can sometimes achieve, which is permanence.