Sarah Gadon Quotations

My chosen occupation isn’t necessarily movie star; I see my chosen occupation as actor.

It's so often that I read for the bouncy, sunny girl men fall in love with who will solve all the romantic problems in the narrative. I don't choose to work that way.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

I have these surreal moments where I’m like ‘I’m pregnant with Jake Gyllenhaal’s baby’ and ‘I’m telling Robert Pattinson that he smells of sex.’ But you’re acting, so the focus is on the work.

I think when you work with really wonderful directors who have a really strong vision, it lets you as an artist set the tone for your own career.

I wore a pink Betsey Johnson dress to my prom, and I pretty much looked like a pink cupcake. I loved that dress!

It's tempting to think, 'This is silly. I'm an artist. I care about my work, my work is first. I don't care about what kind of dress I wear... That's so secondary to me.' But if you care about your work... then you need to take this part of it just as seriously as you would going into an audition and going into work.

When you fall in love with favourite movie stars, it's not because they're movie stars and unattainable, but because they show you sides of themselves that are extremely personal.

When you're in a very specific kind of wardrobe, it kind of dictates your movement; it also kind of enables you - or, I guess, disables you - from certain kinds of movement.

When you're wearing a corset for a long period of time, things that were important to you hours before are no longer important, because doing them exhausts you.

I think Tilda Swinton is terribly interesting. I think she's fascinating. I love her work.

If we learn to understand each other, we will have a better understanding of ourselves.

It's mostly directors whom I get starstruck around.

I've studied dance since I was very young, and I continue to study ballet.

You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.

I think I'll always base myself out of Toronto. I don't have any plans to move to L.A.

I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.

I'm a part-time student, and I plan to finish my degree. I think there are a lot of part-time students with jobs on the side or stressful careers. I'm certainly not the first person to be working while I'm in university.

Movement is very important to a character, no matter what period you're working in. So when it came to playing Emma Jung and lacing up in the corset, it was really not a foreign thing for me.

It's particularly important for a young woman to be in control of her image - to a certain extent. I mean, there's only so much you can do, because people take photos with you and then all of a sudden they pop up all over the place, they're completely out of context and you have no control over how they're used.

Since 'A Dangerous Method,' I've had meetings with everyone from J.J. Abrams to the producers of 'Drive.' And they all have the same thing in common; they say: 'Wow you worked with Cronenberg.' He gave me instant film cred.

If you ever had anyone in your life who has been struggling with addiction or struggling with anything, it's about the resilience of love and how much you're willing to struggle with somebody to preserve your relationship and to try to preserve them as a person - and I think that's really important.

The way I sometimes approach my work, when I look at a script for the first time, is to identify what the archetypes are and what the writing is trying to do in that context.

When you look at something that's so extraordinary, like a man who is traveling back in time to prevent JFK's assassination, for me as an actor, you're still trying to seed it in some sort of reality.

You want to be a part of something that is going to change history or make history or be bigger than yourself.

In my experience, directors who are the most comfortable with themselves and confident in their work give you and everybody on the crew the freedom and the space to create. It's the people who are more insecure who feel the need to control and micromanage.

You have people who know you are competent enough to do your job and then you have the ones that just hover around.

I think the mark of a good director is that they surround themselves with good people.

You often have a great director who's like, "Well, actually I don't even want to reveal you until the end of this scene" or something like that and it totally changes everything that you thought it was going to be.

I really like directors who give you a certain amount of autonomy because I think a lot about my characters and I think a lot about scenes and choices.

It sounds really corny but every film that you do is its own journey, it's its own experience, it's its own thing. Often you think it's going to be one way and then it goes another way - you think you can chart a character and then other things happen. That's the amazing thing about our jobs, it's constantly changing and it's extremely dynamic and you therefore have to be dynamic as well.