Day to day, I always wear eyeliner on my top lid and mascara. I like to do my own makeup, it depends on the event.— Felicity Jones
The most helpful Felicity Jones quotes that will transform you to a better person
I use SPF every day, then apply foundation, mascara, eyeliner and blusher.
I always take my make-up off at night and moisturize.
I have a great plain blue shirt from APC, and a denim one from Dolce that I wear constantly. It's hard to find the perfect denim shirt, but this is it.
I would describe my look as 'ladylike rock chick.
Always, my mother said, "Be yourself.
" That is sometimes the hardest thing to do. I try to always remember that and come back to that and have strength in who you are. There is only one you.
I'm small. I'm petite. But I'm a bit of a fighter inside.
I think, as an actor, you're always traveling. There's a sense of dislocation sometimes from home.
I think that when something happens when you're growing up, like a death or divorce, it does open the world slightly because things aren't as straightforward.
As a child, I always liked dressing up and getting into character, and actors are lucky in being able to retain that playfulness, though we do seem to find it hard to grow up.
When you're a young actor, there's this pressure to rush.
But I hope to be doing this into my sixties and seventies, so I'd prefer to take my time.
I want to be paid fairly for the work that I'm doing.
That's what every single woman around the world wants.
I'm a real geek. I love spending time researching a character and reading about them.
I'm too much left brain. I very much have an emotional response to things; I love literature and films and storytelling. I need to nourish my right side, it doesn't get a lot of exercise.
But since doing the film ["The Invisible Woman"] I've really learned to appreciate [Charles Dickens], he's phenomenal. "Great Expectations" would be one of my favorites.
You have to be brave and not always play likeable people.
It's difficult, because there's a demand for the hero or heroine to be very likeable.
I'm more of a freestyle dancer. I like to do my own thing.
I think [Charles] Dickens was an extrovert and Nelly [Ternan] an introvert, and I think that Nelly saw beyond the fame and adulation and she actually loved Dickens essentially for who he was. So I think he felt like she was someone he could be himself with.
I think good things come out of having tension with the people that you work with. You've got to be arguing in order to produce something interesting. If everyone's just agreeing with each other, you're not going to push the boundaries.
It was amazing how much rehearsal helped with the performance - it was almost a theatrical approach to filmmaking.
Going to auditions is always so nerve-wracking. I don't think they ever get any easier.
When you're believing in the person that you're playing, you feel protected.
It's about being true to that person you're playing.
I've done quite a lot of improv work before, and I wanted to do this film ["The Invisible Woman"] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.
A lot of my time is spent watching films and reading scripts.
And it can be all-consuming. And it's obviously something I'm fortunate that is both my work and my hobby. It's what I would naturally be doing anyway.
I cannot stand beer. But I love wine.
I cry at the end of every episode of "Girls.
" I'm just so overwhelmed by the truthfulness with which [Lena Dunham] conveys human nature.
I think Nelly [Ternan] actually has something very conservative about her, and she's very judgmental of (this other character's) situation, and can see that's about to happen to herself. So she judges it even more harshly [because] it's what she fears becoming.
My mother was in the kind of late-sixties, early-seventies origins of female emancipation. And she was very much like, "You're not going to be defined by how you look. It's going to be about who you are and what you do."
I've never done a superhero movie. It's very nice to you as an actor in several worlds to go and to experiment.
I'm small. I'm petite. But I'm a bit of a fighter inside. In my work I fight for, I hope, showing women in a true way. They've got brains.
I'm attracted to playing people who aren't necessarily straightforward.
I love not having to rely on anyone.
I made a film called "The Theory of Everything," which is based on Jane Hawing, who was married to Stephen Hawking - it's based on her book about their relationship.That's what the film will be about - they were both incredible, strong, willful individuals and I feel like that Stephen Hawking himself would say that he wouldn't have survived without the influence of Jane Hawking, and they were an incredible team together.
The key is working with great directors.
A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
I'm keen to have balance, as much as possible.
I'm not a huge jewelry fan.
I couldn't do what I do without my friends and family.
I think I actually did a production of "Under Milkwood," this Welsh play, with my drama group (at school), and I always remember taking everything far too seriously, and that it wasn't just a hobby but something I wanted to keep on doing.
I guess I'm a bit of a romantic.
I really enjoyed it - being involved in watching rushes and playback [in "The Invisible Woman"]. Ralph [Fiennes] was very open to my input, I think knowing that he couldn't always be there 100 percent, that he had dual aims with directing and acting.
What's amazing about the show ["Girls"] - the first (season) is about the girls and then the second (season) is about the boys as well. There's something so human about it.
I studied English literature at university, but for some reason we only spent one week on [Charles] Dickens, so I remember just trying to find the shortest book that I could find. I was like, "'Hard Times,' really great - it's short, that'll do it."
I was a tomboy running around in the garden.
I used to play on a local cricket team. I grew up with all boy cousins, for the most part, and my brother. My mother was in the kind of late-sixties, early-seventies origins of female emancipation. And she was very much like, "You're not going to be defined by how you look. It's going to be about who you are and what you do."
I was a tomboy running around in the garden.
I used to play on a local cricket team. I grew up with all boy cousins, for the most part, and my brother.
I'm very independent, creatively, always trying to push myself - and I think that comes from my mother.
I've been very lucky. Directors I've worked with have been very amenable to changes.
"The Invisible Woman" was about trying to show this conflict in [Nelly Ternan] woman truthfully, between her own identity, but also being in love with someone who I think made very high demands from her.
I was into Virginia Woolf and James Joyce [at university] and I think we all thought that [Charles] Dickens wasn't that cool.
The American vice would be sometimes speaking too loudly.
You can always hear American people on the trains!
I do sort of appreciate Nelly's [Ternan] view that it would be woman who would suffer mostly from that - who would be ostracized. The rigid societal conventions meant that it was difficult to live outside of them.
I like Nelly's [Ternan] quiet inner strength.
I thought there was something about her predicament that I found interesting - that she didn't want to be a floozy mistress, a bit on the side, that she had more self-respect than that.