Felicity Jones Quotes

I took a psychology class, and I think the study of the mind can help me further my acting ability. It's also taught me about getting into an environment with new people and acting like you've known them forever.

There's a whole element of human interaction and character interaction that I really enjoy doing.

I became a better listener than I ever had been as a result of playing Jean Luc Picard because it was one of the things that he does terrifically well.

I wouldn't say I'm drawn to dark roles, and it's not like I pick and choose.

Sometimes, it's hard to separate manager mode from mom mode. I think, as our manager, my mom will get more emotional about situations than she would if she was just our manager.

The less friendly your relationship is on camera, the more useful it is to be friends with them off camera.

I can be incredibly focused, and I can appear impatient. So I've learned to slow down, get to know people, and provide more context. There's nothing wrong with getting to the point pretty quickly, but it's also helpful to give people an opportunity to talk about their work.

You tend to relate to the other person better if you understand their professional needs.

Working with different people anyway is like life and meeting different people... as long as you can be empathetic, you can take a bit of them on and see what you can do to help their process. That said, my relationship with Woody Allen was trying to hang on his every word so that I could tell everybody what he said afterwards. But certainly, he was a very good example of somebody who you didn't hear talk above a very low volume for the entire time he was on-set.

I've never taken a role where I don't like a person on the page.

You've got to be able to know someone really well to be able to have a row and then also walk away from it and not have it matter, especially in this business. That doesn't mean to say we have many rows but I think the nearest thing to a row would be just flatly disagreeing with something .

And that doesn't cost any money, to have decent relationships and viable situations. What costs money is car chases and shoot-outs, so I always thought that the thing to work on was the characters.

I've always gotten along pretty well with people.

Even people who aren't pleasant to deal with - it's often because they're unhappy, and something's still not resolved for them.

I can only get to a certain point as I write and then I have individual conversations with everyone that I cast. I always do a rewrite based on the conversations.

I choose roles according to my sensibilities.

Every actor demands different things. Every human being you come in contact with in your life, you have to deal with in slightly different ways.

I definitely learned a lot about how to be more communicative with my crews.

I think I'm a pretty good listener.

I get along with people quickly.

I think that's the most important part of doing this job, is learning different personality types. I mean, it's kind of like sociology or psychology in a sense. With that, and with every project I do, I think I'm able to pull something away that further makes me understand humanity in a way I didn't before.

I connect with all of the characters in my films. That's what makes you want to make a film, that you can enter the mindset, the situation, the conflict, the contradictions.

You have to respect the job of the other coach and then stop. He's an opponent: I stop. Finish. I have respect for his job. He must have respect for my job.

If someone comes with an interesting script where the negative role suits me, I will definitely take it up.

All men are made one for another: either then teach them better or bear with them.