Beth Grant Quotes

I've done bit parts on shows where I've been the fat girl or the punk rocker.

I've auditioned for normal characters. But I never get cast.

I really enjoyed playing Freddie Cork. People are always scared to approach me because of the character I played in 'Brotherhood.' The writing was very smart.

I have played a few lay saints in my time.

I'd been trying for a while to get parts that weren't just the English bad guy, so it was quite refreshing to be playing someone who was a compassionate, decent guy.

I played a real nasty little girl but most of the roles I had up until then were very sweet and very nice.

I'm always cast in these strange men... that's not me, really.

I liked 'Brighton Beach Memoirs,' which I did with Neil Simon. I kind of was playing him, as Eugene Morris Jerome, and I played that a few times at the very beginning of my career.

I was definitely in acting class in school, but I was never the princess of the play. I will always remember: they always gave me the part of the gypsy or the old man in the corner.

George Hearn taught me that you learn that there are roles that are Tony roles and roles that are not.

I'm always in the elements, it seems like it's pouring rain on me a lot and there's crowds of people pushing me around, and it feels very real. Which is great as a actor, you don't have to come up with too much of it. I'm always amazed.

You're just playing a role, whether it's a drama or a comedy. I find it really fun to sort of play opposite Uma.

I would think I'd accomplished it all if I could get to play Quasimodo.

If everyone thinks you're bizarre and creepy, then you play bad guys. If everyone thinks you're beautiful and wants to kiss you, then you play the lead role.

Being a theater actor, I've done a lot of plays where I've seen someone else play the same role in another production. Especially with the classics: Shakespeare, Tennessee Williams.

When children ask me what's my favorite [role], I say to them, "Imagine having ten beautiful new puppies in a basket and you had to say which one is your favorite, and you simply couldn't because you love them all for different reasons." POPPINS was such a learning experience, as was THE SOUND OF MUSIC. I tell you, every one of them just helped me grow in what I do and did and each one was such a phenomenal working experience.

I never had an aversion because I was active in the drama club. If I had that aversion I certainly wouldn't put myself in the position of being on stage. Of course, in the drama club you're hiding behind a character.

There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice. At one point he took the robes he was wearing and just started flipping them up in the air, out of nowhere. And later, an actor said to him, "What was that, George, what were you doing?" And he said, "They were sleeping." You're always trying to catch them.

I feel like a lot of my work on stage, I've gotten to play a wider range of characters than I have on film. This feels closer to who I am than stuff I've played on stage, or, like, Olive Kitteridge.

I was in a panto last year, Aladdin and The Wonderful Lamp. I played the wick. I got the sack because I was too well-oiled every night.

When I opened up in "Gaslight," for instance, playing that narky maid, that all came about from my experience and my training up to that point, and so nothing was wasted.

I never will believe there is such a thing as a great actor.

I was confident and in good shape when I first came to L.A. but nobody would cast me in any well written roles. People assumed based on my looks I was an asshole and a one trick pony. They never let me improv or do comedy. It wasn't until I built a shlubby exterior, which stood in stark contrast to my inner confidence that people gave me room to play.

I got sick of playing husbands and boyfriends because there was nothing there.

This is a movie version of the play [All the Way]and when Bryan [Cranston] was on stage the bigness of the man was played to the back of the house. When we turned the cameras on that, it changed a bit with close-ups, but we got just as much power in that beautiful intimacy.