Quotes from Lake Bell

I feel that being an actor is a front-row seat into seeing how everybody else makes their movies. Basically, being in the trenches for ten years is like a college-level course in filmmaking if not more. It feels like every director I work with and every set that I visit as an actor, I see someone else's definition of filmmaking.

I have vitamins I intend to take to be a better person. I even have a pillbox for them to remind myself to be healthier. But will I take them? Definitely not.

I'm super and very openly obsessed with voice-over. 'In a World...' was my love letter to the industry of voice-over. And in a way, I sometimes think of it as a 93-minute audition to the voice-over industry to say, 'Hey. Consider me!'

I went to drama school in England, and you spend your first year working on the muscles surrounding the vocal mechanisms. You learn how you support it and create characters through your voice so that became an obsession. So I went to Hollywood thinking, 'Oh, I'm going to be one of the great voice-over artists.'

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.

I've always been very in tune to my voice and to other people's voices and how they express themselves vocally. And I always loved accents and dialects - I collected them like stamps.

I did accents and funny voices for the family when I was growing up.

I love Dr. Hauschka's blue mascara. It's not so blue that it's like, 'What's wrong with you?' It's more like a secret that you're wearing it.

When you write and direct your own film, you basically know exactly what you want. Or you hope to. For the studio, it actually can make life a little easier, because if you have a bunch of questions, they only need to call one person.

I certainly felt like my life had been enriched and had also changed forever when I took 'In A World...' to Sundance.

I think the greatest privilege you have as an artist is time to nurture what you want to make; that's super luxurious. For you to rush into something, that doesn't feel fun to me. I'm living life in order to be able to write about it.

My brother and I had many games. We were inseparable. We had a little team going on between us. We had even a language that was kind of like pig latin. So we'd speak in the language. It's called Op.

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

My dad's a Jew, and my mom's a WASP, so that should pretty much say it all. It was a comically dysfunctional family.

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.

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.

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

I was a commercial girl. In drama school, I was a mediocre model occasionally to pick up some extra cash, and because clearly I'm not six feet tall, and I had baby weight, I would mainly just would do promotional stuff.

Anything that is profoundly energy-shifting - like having a child - is fodder for creative thought. So for me, I welcome it and look straight into it as something to learn from.

When I was pregnant, I was like, 'I'm pregnant, so I'm allowed to eat everything: bagels with cream cheese for breakfast, lunch, and dinner, and I can have pizza for dessert.'

At a time when every series we're supposed to be DVR-ing is very important, very serious, has to do with heavy, heavy matters, I think 'Wet Hot' provides a respite to that DVR homework. It's totally the gummy bears of your programming.

'Wet Hot American Summer' was sort of lowbrow genius, you know? But smart in its cultish silliness. It wasn't considered something of great cultural caliber. But like many cult pieces, it sort of became something culturally relevant, which I think is what's so wonderful about it.