Lake Bell Quotes

I had had a huge background in the nuance of the accent because I went to drama school in England for four years.

I like my body, I like to have fun with what I put on, but I also want to remain classic. So I guess my signature is sexy and eclectic but classic.

I love fashion. I always have. When I was a kid, I was in almost full-on costumes when I went to school, and I've retained a bit of that in my adulthood.

Actually, in my own life I think I probably feign neuroses to be more interesting than I am.

I am lactose intolerant, and I always thought it was really funny how people who are lactose intolerant continue to eat dairy, because they like it so much. And I find it not acceptable.

I'm going to say a phrase or terminology or vowel that I don't know how to attack .

I worked with an amazing dialect coach named Jill McCullough.

We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.

I think coming to work and being absurd and neurotic and thoughtful at the same time is far more interesting.

I've made it very clear that I'm interested in voiceover work.

I mean, I'm always looking for voiceover gigs. I love that.

A friend of mine told me, you know your obsession with girls who talk like sexy babies? You have to put that into your script.

When you make a movie, you're spending a month of your life with someone and, down the line, you have to spend more months with them. It is this mini-marriage that you have.

Without strong financial roots, our generation is in a constant state of redefinition. This forces us to think outside the box when it comes to making a living... which sometimes makes it look like we're a mess, but really we're just creative. And we like weed.

I vowed to never use my American accent, and I didn't.

Even going to get the paper in the morning to buying milk down at the shop, getting a cab, wherever.

I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.

I'm not a drug person. I don't like drugs. I went to college in London, so it was kind of the curriculum there. I got it out of my system really young.

I think of myself as a content creator and hopefully one day a content enabler and supporter of others, so that's what my immediate and hopefully future journey is.

If I'm going to pour that kind of love and energy and sweat and heartache, all that juju into something, I'm going to lean into my own projects before someone else's.

But I'd say 'How to Make It in America' is the most accurate depiction of the New York hipster community on television for sure.

Something that has always attracted me to even taking on the occupation of actor is the idea that I could be lucky enough to portray different characterizations from different places in the world, whether it's speaking another language or taking on a dialect and building a history from where they were born. I was very attracted to that concept, in becoming an actor.

I feel tremendously lucky that I am offered incredible jobs all the time to direct, but the problem that I have just personally is that there are only so many years in my life to dedicate to certain projects.

You have to keep hobbies in L.A. Otherwise, it's sad.

I understand and respect deeply that each project brings its own secret and wonderful gifts and happy accidents.

I feel very lucky that when I'm burnt out of acting I take to the pen and I write something I want to direct.

The producers had seen "In a World..." and that's where they found me out and consequently sought me out for this role [in Man up].

I get really restless if I'm not working.

I generate or try to generate my own stuff. I'm constantly on the prowl for working with the people I love and respect.

What's the trick to writing a genuinely funny comedy? The trick is therapy. Take notes.

I have this necklace I always wear. I collect pendants from people I love; my best friends and members of my family have all given me one, and I put them on this chain so no matter where I am they're always with me.

It's like the most profound accomplishment that I've had in my career, that I can finally be that voice.

I find the female tragedy of insecurity to be hilarious.

We get obsessed over issues like the tiny skin tags on our backs or that we're fat. You read one line in a magazine and it sends you into a tailspin.

A woman needs her privacy while drinking a dirty Belvedere martini on the rocks with a splash of Tabasco.

I wrote an entire movie [Man up] about how important I think voices are, so it was funny.

The reason I got into this business was for the privilege to exist in different genres and different worlds and play out different realities.

There are a lot of funny people and a lot of unfunny people.

Some of them are women and some of them are dudes.

I've learned from every director I've worked with.

Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.

I sort of loved the bustle of a thousand questions. Women are inherently kind of multitaskers.

I'm in full transparency here of "Yeah, I'm trying to find my financing."

Part of why I love being an actor is the opportunity to be able to go to distant lands and take on different worlds and concepts and pretend to take on different occupations and statuses.

I think great directors really respect their actors and vice versa.

That mutual respect makes the job fun instead of anything but.

When you're a director, you have great respect for directors.

I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.

When I do an accent I commit fully and take it very seriously.

You can't live in a dialect without tremendous work.

Like any muscle, accents and voices and languages are all formed out of the muscles that we have in our mouths and faces and tongues.

People do horrible things when they're young.

There might be betrayal and there might be things that should be forgotten.

You have to be steadfast, and right now I'm on a stream train forward to make.

I hope, my career is never predictable.

And my interests are diverse in that way. I feel very lucky that when I'm burnt out of acting I take to the pen and I write something I want to direct. And then when I'm tired of taking on too much responsibility as a director I then look for an acting gig. And I've made it very clear that I'm interested in voiceover work. I mean, I'm always looking for voiceover gigs. I love that.

Part of what's cool about being an actor or being in this industry, frankly, is to be able to travel to distant lands. That's part of the deal. I always thought when I was growing up, "I wanna be an actor and go see the world.'

We're all part of movie and we're all incredibly and equally important but it is your actor's job to perform and to deliver.

With more money brings more fear and when you're trying to be creative in a fear-based environment it's dangerous. Then decisions are made out of fear, not what's best for the film.

I'm vegan on home base, but when I travel to other countries, I throw it all into the garbage.

When I'm tired of taking on too much responsibility as a director I then look for an acting gig.