Margaret Cho Quotes

The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great. I did a tiny bit in the one school in Paris, and it was wonderful because you'd have a nude taking a crazy position, and you'd have 10 seconds to do a drawing. Then you'd do a one-minute drawing.

I've gotten to work with some wonderful directors and people who have been great teachers to me.

My acting teacher in high school was really influential, and we still keep in touch.

I was a theater dork in high school and did all the plays. My theater teacher in high school, Janet Spahr, was absolutely incredible and mentored me throughout school. She taught me a lot about relying on my instincts.

There was a teacher who recognized that I was interested in cartooning and he was great.

I was really learning my craft as a jazz singer and working with some great players and all, really growing and feeling my wings.

If I can only be known as one thing, then, well, I guess it would be poet and performer and teacher.

The great thing about acting is that you get to be a lot of different things in one lifetime. You get to explore different personalities and characters.

When I got back from London, I started with a new voice teacher in the experimental wing, who trained me to have my own artistry as opposed to forcing a technique upon me.

I wasn't a ballet baby. My first dance class was in an outdoor pavilion when I was three. It was called 'creative movement.' The teacher gave us chiffon scarves in beautiful colors. She turned on some music and said, 'Now go dance.' So for me, dance has always been about self-expression.

There was only one elective at my college for acting, but thank God for that elective because we had a great teacher who introduced me to the Meisner technique for acting. Once I read that book, I said, 'Wow, if I could do that and have that honest moment on stage, that would be amazing.'

Doing acting opened up other creative outlets; it made me feel freer as an artist.

I know I have this kind of teaching element in me, but I don't want to become a 'teacher of theater' because that would formalize something that I'd much rather keep casual.

My family supported me. I wasn't hot-housed at all as a young child; I didn't go to any kind of gifted school. They didn't exist in the very poor parts of England when I grew up in the 1980s. I had a great time to learn, had access to libraries and teachers who were patient and enthusiastic when I showed ability in some subjects.

I started doing stand-up when I was 16, my junior year in high school. My two friends and I would sit at home watching stand-up. They kept saying I should try it, and so I did.

When I got to 10th grade at Booker T. Washington High, I had a teacher, Miss Geraldine Nesbitt. I think she came from New York. She helped me begin to question things.

When I was at art college, the teachers who helped me were not the ones I agreed with, or the ones who encouraged me, but the ones who took very strong positions. Because if someone does that, you can find your own position in relation to it: what is it that I don't agree with? In the studio I want to articulate a position clearly enough so that other people can use it - or chuck it away if they don't want it.

After working on 'Europa,' I found it incredibly freeing to speak English in a film, so it kind of sparked an interest in me as an artist to improve my acting.

Growing up in Highland Park, in high school, I had some very influential teachers: I had a math teacher who taught calculus that helped me learn to be in love with mathematics; I had a chemistry teacher who inspired us to work what was in the class and to go beyond.

Acting-wise, I'm way more comfortable finding out new things about the actor in me and RJ as a person. There's a lot of new nuggets that I can dip in the sauce.

I got a C in art when I was in 11th grade. That it is even possible to come out of a high school art class with a C is wondrous, especially considering the creative license we were encouraged to use to, for lack of a better axiom, color outside the lines.

That's one of the really cool things about being an actor. You get to explore all different parts of yourself.

As an artist, I want to explore as much as I can.

I think, being an actor, part of it is also being a teacher. I think that's one of the most rewarding things you can do - pass on the knowledge you've learned from other teachers.

I was working with Jay Z while I was still learning how to be who I was about to become.