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I remember the casting session that I had where I was a break dancer, having this punk hair cut. They rejected me and I became really disillusioned with the business and said well this is what it's all about, and I haven't even got in to read a line. He said don't worry, some day we're going to get you back into this and it's going to happen for you, which I kind of took to heart. It was one of those situations where I was lucky and fortunate enough to be at the right places at the right time. All of a sudden I was on the set of Growing Pains and got this audition for This Boy's Life and was able to jump into the feature film world. It's really been just simply the fact that I'd been able to work, you know what I mean? I would probably still be trying to be an actor even if I was out of work, but I would probably become a little disillusioned at some point and move on to other things. But it's the one thing that I know that I love.

 

Leonardo DiCaprio

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"You can say the Jesus Prayer from now till doomsday, but if you don't realize that the only thing that counts in the religious life is detachment, I don't see how you'll ever even move an inch. Detachment, buddy, and only detachment. Desirelessness. 'Cessation from all hankerings.' It's this business of desiring, if you want to know the goddam truth, that makes an actor in the first place. Why're you making me tell you things you already know? Somewhere along the line — in one damn incarnation or another, if you like — you not only had a hankering to be an actor or an actress but to be a good one. You're stuck with it now. You can't just walk out on the results of your own hankerings. Cause and effect, buddy, cause and effect. The only thing you can do now, the only religious thing you can do, is act. Act for God, if you want to — be God's actress, if you want to. What could be prettier? You can at least try to, if you want to — there's nothing wrong in trying." There was a slight pause. "You'd better get busy, though, buddy. The goddam sands run out on you every time you turn around. I know what I'm talking about. You're lucky if you get time to sneeze in this goddam phenomenal world."

 

J. D. Salinger

 

The summer of 2000 was a real turning point for me, and I kind of got my act together and laid the bottle down and got to work, and really last five years have been the greatest five years of my life, personally and then -- as a result of that, I guess -- professionally. Six months after that, I met Amy [Poehler]. We had sort of met before, but we started dating. From the moment we met, it was the greatest thing that ever happened to me. It was great. We didn't know what we were doing, and all of a sudden she got SNL, so we kind of decided that I guess I had to move to New York; otherwise it wasn't going to work out. So I moved back to New York and it was the greatest. It was great. Probably the best thing that's ever happened to me is Amy.

 

Will Arnett

 

One of the most difficult aspects of being an actor is trying to find the right work. Work that speaks to an audience, that you enjoy doing and that is reflective of your artistic sensibility. To be a contemporary movie actor, you have to kill people - that's basically it. If you don't cock'n'load'n'fire a Smith&Wesson at some point in your film career, you're not going to have a film career. There just aren't enough movies that I like to keep me working in movies all the time. Well, let me rephrase that: there aren't enough available parts.

 

Ethan Hawke

 

I like to climb. I don't love to work out. Actually, I hate to work out. You know, I tell myself, "AnnaSophia, you have to work out. You haven't gotten any exercise in the longest time." You know, I don't have time, really, to work out or play a sport. But I love to dance. I like to run in the springtime or in the fall. I like to go outside. I don't like running on a treadmill. I get tired... I just get sick of it. But if I'm outside, I could just run for ages. Or walk, if I need a break.

 

AnnaSophia Robb

 

All these tattered old bits and pieces have a history and a meaning. A group of them together can seem like the traces left by an ionizing particle in a bubble chamber: they draw the line of a path taken by something too mysterious to see. That path is a story, of course. What scientists do when they look at the line of bubbles on the screen is work out the story of the particle that made them: what sort of particle it must have been, and what caused it to move in that way, and how long it was likely to continue.
Dr. Mary Malone would have been familiar with that sort of story in the course of her search for dark matter. But it might not have occurred to her, for example, when she sent a postcard to an old friend shortly after arriving in Oxford for the first time, that that card itself would trace part of a story that hadn't yet happened when she wrote it. Perhaps some particles move backward in time; perhaps the future affects the past in some way we don't understand; or perhaps the universe is simply more aware than we are. There are many things we haven't yet learned how to read.
The story in this book is partly about that very process.

 

Philip Pullman