Julie Benz Quotes

I remember Gale Gordon was in the pilot [of Hi Honey, I'm Home], and it was one of my very first professional gigs without having an adult take me to the job.

I was this person with this weird last name from New York that no one had ever heard of. But my screen test I guess, according to him, was the best. So I got the part, which was incredible.

I started working at the age of 2, doing commercials and modeling in New York.

I did everything pretty cliche as an actor in New York. I read the trades, I sent out 'head shots.'

I came from Texas, I was studying theater at NYU, and I thought for sure that my lot in life would be to get the best bartending job I could find and do theater in New York. And that was a good life.

I wanted to go to NYU because I thought that was my best path to glory. I figured it was safer to move into the acting world in New York while I was living in a dorm.

I started when I was three years old, doing commercials and Modeling in New York, I liked it so much that I kept doing it.

In September of 2001, I was living in the West Village of Manhattan, working from my home for a tech start-up.

After three years in L.A., I began to dream of my glory days on the boards. But it's very difficult to make a living as a theater actor in New York, which is why I moved out here, and I always had an ambition to work in television. I am a great admirer of the format, and I think it's how we tell long stories.

I keep going to New York every year for 20 to 25 days. I love it there, but I can't imagine settling in any place other than India.

I was fired from my first job in New York. I was just out of school, doing the Welsh play, 'The Corn Is Green,' at Equity Library Theater. I was studying with Uta Hagen, and I was really working well, but they got nervous. They wanted results right away. We had a run-through, and I wasn't there yet, so they fired me.

In late 2004, I left my much-maligned home state of New Jersey for the supposedly greener pastures of Astoria, Queens. I'd finally be in the mix, living off the subway line, able to go from audition to audition during the day and from late night show to late night show in the wee hours of the morning.

I went to NYU to study liberal arts.

I only entered the industry when I was 16. I really didn't have much of a struggle to land myself a role in a film.

I kinda feel like if I can do what I like in New York - and I like New York, I was born in New York, I have a lot more of a connection to New York - the hope is to stay in New York.

I tried to take advantage of what I could in Philly. But when it was time to move on, I moved on to New York. There, I booked a series regular role on 'One Life To Live.' I played a character named Deanna Forbes. She was my first big job. It was on daytime TV. And it was a great opportunity until that show got canceled.

The Dain Curse [Tom Fink] was a great job. I was in New York, and I was young - I think I'm 28 years old in that - and I got to work with James Coburn and Jean Simmons and Jason Miller. Plus, it was a Dashiell Hammett story, and I had a great character. It was fantastic to shoot.

I think that one of the things that has changed the perception is that there are so many more single people. In New York City, it's 47 percent. When you have that many people who are single, they have a bigger voice and they're more willing to speak and say, 'We're not miserable, we're not sitting at home waiting for Mr. or Ms. Right, we're having a good time.' And I think single people have better friendships.

New York is an ugly city, a dirty city. Its climate is a scandal, its politics are used to frighten children, its traffic is madness, its competition is murderous. But there is one thing about it - once you have lived in New York and it has become your home, no place else is good enough.

Most actors and actresses are performative as people. It goes part and parcel with the profession and New York actors who are out of work, or actors anywhere out of work, are manic because you never know when the next job is going to come.

Sometimes I get the feeling that there are orgies going on all over new York City, and somebody says, 'Let's call Desmond,' and somebody else says, 'Why bother? He's probably home reading the Encyclopedia Britannica.'

I made my performance debut in New York City downtown on the Lower East Side in college doing awkward performance art as a go-go dancer at Lady Starlight's Party. And I never thought that my love for mediocre performance art and bad mime would ever come to use in my career as an actor. But my fantasies came true and I got to play Maureen in Rent.

My problem with being in New York City is that you really can't make a living as a comedian. You can, but you have to also take writing jobs, which means less stage time.

I started as an artist and I had a side job moving some heavy boxes for a publishing company. They had just gotten a Mac for their art department, the department that creates the book covers. I was kind of showing the art director a thing or two about how to use a Mac. And one day everyone went out to lunch and I jumped on the computer and designed a book jacket and slipped it in the pile to go to the review board in New York. They picked my jacket and when the art director got back to Boston, he wanted to know who designed it and I said, "Me." He was like, "The box guy?"

McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.