Aya Cash Quotes
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Most of my comedy is accidental, I would say. If I don't know what the joke is, I'm going to play it better than if I do.
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As you get older and you progress in your career, you start to want to have more control over things and you have ideas.
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I think that it's a myth that there's one job that makes your whole career, unless you're winning an Oscar. But even that doesn't work for some people.
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If I had a child and she was a girl, I'd hope she'd do something different from me.
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For years while I was working as a waitress, all I wanted to do was get on a TV show. You think, "This will solve all the problems. I'm making more than 400 dollars a week; I don't have to worry about money ever again," but it's just not true.
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I really don't have a specific idea of where I want my career to go, I just have an idea of wanting to continue to work and work on things that I like and think are good.
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You have to be kinder to yourself, because it's a part of being good.
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Both of my parents were incredibly supportive of me being in any arts, because they were both in the arts. They weren't the typical story of, "Oh, get a real job. You need to make money." They basically said, "Yup, be an artist. You'll be broke your whole life but you'll be happy."
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I've always just shown up to set and said the lines, [but] I want to help develop scripts and help cast and help bring a visual tone to something.
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The worst feeling in the world is giving a bad audition.
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I wanted to be a writer for a while. I was an excellent child writer. I won multiple poetry contests. I was published at age three - I think that was more about novelty than my immense talent.
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Acting was something I wanted to work at and put the time into.
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I don't know if I'll ever direct, but producing is dipping my toe into my behind-the-scenes world.
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I've seen some of my favorite actors give bad performances, and I have to tell myself that failure is a part of success.
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You never know what's going to happen, so you just continue with your head down and never expect things to start being handed to you.
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The thing I'd miss most is the feeling when acting is going well, when you start a play and you end the night and you look back and go, "What just happened?"
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You have to find something you relate to in every character.
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There are problems everywhere, of course, but you can only see those certain problems when you reach a certain level. So I try to think of those problems as, "This is a sign that I'm having success, that I'm also having issues with this."
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We live in a time where improv is king and people love improv, and I think there's a time and a place for that and people who are really good at structuring improv.
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We're all eaters. That's our bond. Let's be real.
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There's been no nepotism in my acting artistic life, but I think it's been pretty clear in my writing life. I knew what a pantoum was at age 11 - I knew form - therefore I would win the poetry contest. But I also realized that I would never be a great writer.
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I always knew that I'd probably do something in the arts.
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There's innate competition, I think, between mothers and daughters - mine no more so than anyone else.
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The idea of a journeyman actor, people sort of say negatively - "Someone who never made it for real" - [but] I think a journeyman actor is the complete goal.
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In school I really loved Shakespeare, and I participated in a country-wide Shakespeare competition.
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No one is trying to be bad for the sake of being bad - there's always a reason behind it.
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I feel crushingly embarrassed when I do bad work, so being rejected after doing bad work is actually harder than being rejected after doing good work.
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Even in success, you're going to be constantly rejected.
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What you learn in any acting class is how to make a fool of yourself and enjoy things and get out of your head.
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I don't need to be crazy rich and crazy famous. I would just like to keep going.
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