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Jodie Foster
Birthday:
19 November 1962
Birth Name:
Alicia Christian Foster
Height:
160 cm
Biography
[on Richard Gere] A lot of actors think acting is a girl's job, but Richard finds something sensuous in acting.
[on Richard Gere] A lot of actors think acting is a girl's job, but Richard finds something sensuous in acting.
I think "destiny" is just a fancy word for a psychological pattern.
I think "destiny" is just a fancy word for a psychological pattern.
[on Jennifer Lawrence] The good news is that Jen, her good-humoured, ballsy, free-spirited ego with the husky voice and a propensity for junk food - Jen, the spirited tomboy from Kentucky - that Jen's got it together. A hoot. A gem. A gem with a killer stare.
[on Jennifer Lawrence] The good news is that Jen, her good-humoured, ballsy, free-spirited ego with the husky voice and a propensity for junk food - Jen, the spirited tomboy from Kentucky - that Jen's got it together. A hoot. A gem. A gem with a killer stare.
[at the 2013 Golden Globe Awards] I hope that you're not disappointed that there won't be a big coming-out speech tonight, because I already did my coming out about a thousand years ago, back in the Stone Age.
[at the 2013 Golden Globe Awards] I hope that you're not disappointed that there won't be a big coming-out speech tonight, because I already did my coming out about a thousand years ago, back in the Stone Age.
I've reached that point where I don't want to act very much anymore. I am much more interested in holding off on acting, after 45 years as an actor. It's a long period of time to do the same thing.
I've reached that point where I don't want to act very much anymore. I am much more interested in holding off on acting, after 45 years as an actor. It's a long period of time to do the same thing.
Mel [Gibson] and I work in the same way. We're people who focus intensely but for a short period of time. One minute he's standing there making a joke. And then, bam! He's in it. It's all about concentration. What do you need to concentrate.
Mel [Gibson] and I work in the same way. We're people who focus intensely but for a short period of time. One minute he's standing there making a joke. And then, bam! He's in it. It's all about concentration. What do you need to concentrate.
[Agreeing to work with the controversial Mel Gibson in The Beaver (2011)] I grew up with the idea that the movie business is a family. It's like the mob. You don't rat on your friends. Who you are in a business relationship is a reflection of who you are as an artist.
[Agreeing to work with the controversial Mel Gibson in The Beaver (2011)] I grew up with the idea that the movie business is a family. It's like the mob. You don't rat on your friends. Who you are in a business relationship is a reflection of who you are as an artist.
[on independent films] Obviously, I've made a lot of independent movies and I ran an independent production company and produced a bunch of independent movies. I don't make as many indie movies as an actress 'cause I don't think I'm well suited for them. I don't know why. As an actress, I think I'm better in mainstream movies because I have a very linear sto...
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[on independent films] Obviously, I've made a lot of independent movies and I ran an independent production company and produced a bunch of independent movies. I don't make as many indie movies as an actress 'cause I don't think I'm well suited for them. I don't know why. As an actress, I think I'm better in mainstream movies because I have a very linear storytelling way and sometimes that's kind of boring for indie movies. So I think I'm a better indie movie director and producer than I am an actress.
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When people are there to simply do a job they don't have any passion for, those are nearly always bad films.
When people are there to simply do a job they don't have any passion for, those are nearly always bad films.
[Criticizing the film adaptation of Sin City (2005)] That was so painfully cartoonish I was offended. I don't know how you enjoy or laugh about a child abduction and molestation. What part of that sentence is funny? I can't get beyond that. I don't know if everyone understands the impact of that movie's message.
[Criticizing the film adaptation of Sin City (2005)] That was so painfully cartoonish I was offended. I don't know how you enjoy or laugh about a child abduction and molestation. What part of that sentence is funny? I can't get beyond that. I don't know if everyone understands the impact of that movie's message.
[on backing Mel Gibson after his 2006 anti-Semitic comments while drunk to a cop he thought was Jewish] Is he an anti-Semite? Absolutely not. But it's no secret that he has always fought a terrible battle with alcoholism. [Mel] was a shining example of how low you can go when you are young and still pull yourself up. He took his recovery very seriously, whic...
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[on backing Mel Gibson after his 2006 anti-Semitic comments while drunk to a cop he thought was Jewish] Is he an anti-Semite? Absolutely not. But it's no secret that he has always fought a terrible battle with alcoholism. [Mel] was a shining example of how low you can go when you are young and still pull yourself up. He took his recovery very seriously, which is why I know he is strong enough to get through this now.
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[on Taxi Driver (1976)] I think it's one of the finest films that's ever been made in America. It's a statement about America. About violence. About loneliness. Anonymity. Some of the best works are those that have tried to imitate that kind of film, that kind of style. It's just a classic. I felt when I came home every day that I had really accomplished som...
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[on Taxi Driver (1976)] I think it's one of the finest films that's ever been made in America. It's a statement about America. About violence. About loneliness. Anonymity. Some of the best works are those that have tried to imitate that kind of film, that kind of style. It's just a classic. I felt when I came home every day that I had really accomplished something.
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[on the making of Taxi Driver (1976)] You rarely have a director like Martin Scorsese or a co-star like Robert De Niro, who rehearses and rehearses until you get the feeling that for the time you're with him he is the character. It's so real it's frightening.
[on the making of Taxi Driver (1976)] You rarely have a director like Martin Scorsese or a co-star like Robert De Niro, who rehearses and rehearses until you get the feeling that for the time you're with him he is the character. It's so real it's frightening.
[on the making of Taxi Driver (1976)] There was a welfare worker on the set every day and she saw the daily rushes of all my scenes and made sure I wasn't on set when Robert De Niro said a dirty word.
[on the making of Taxi Driver (1976)] There was a welfare worker on the set every day and she saw the daily rushes of all my scenes and made sure I wasn't on set when Robert De Niro said a dirty word.
[on her role as the child prostitute Iris in Taxi Driver (1976)] I played something completely different. But I knew the character I had to play--I grew up three blocks away from Hollywood Boulevard and saw prostitutes like Iris every day.
[on her role as the child prostitute Iris in Taxi Driver (1976)] I played something completely different. But I knew the character I had to play--I grew up three blocks away from Hollywood Boulevard and saw prostitutes like Iris every day.
[on her role as the child prostitute Iris in Taxi Driver (1976)] At first I didn't want to do the part, but only because I was afraid my friends would tease me afterward. I thought, "Wow, they've got to be kidding." It was a great part for Melanie Griffith, but I couldn't believe that they were offering it to me. I was a Disney girl.
[on her role as the child prostitute Iris in Taxi Driver (1976)] At first I didn't want to do the part, but only because I was afraid my friends would tease me afterward. I thought, "Wow, they've got to be kidding." It was a great part for Melanie Griffith, but I couldn't believe that they were offering it to me. I was a Disney girl.
As time goes on, I will play characters who get older: I don't want to be some Botoxed weirdo.
As time goes on, I will play characters who get older: I don't want to be some Botoxed weirdo.
Motherhood doesn't mean I don't have a creative side that I need to nourish. It doesn't mean I don't have independence from them. I'd be a crazy person if I didn't.
Motherhood doesn't mean I don't have a creative side that I need to nourish. It doesn't mean I don't have independence from them. I'd be a crazy person if I didn't.
I've learned something in the last few years that I really didn't know about myself as an actor. I basically learned how to stay happy. It's important for me to be happy working or I feel resentful. I don't like it. I hate myself. What I know now is that I really need to love the director. I need him to be a good parent. And then I will lie down on the train...
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I've learned something in the last few years that I really didn't know about myself as an actor. I basically learned how to stay happy. It's important for me to be happy working or I feel resentful. I don't like it. I hate myself. What I know now is that I really need to love the director. I need him to be a good parent. And then I will lie down on the train tracks for him and go to the ends of the earth for him.
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I'm lucky that people do leave me alone. I'm not Madonna. The red carpet is work for me. I work from 9-to-5 and when I get home, I don't want to go back to work by going to an industry event. For me, putting on makeup and a fancy dress is work.
I'm lucky that people do leave me alone. I'm not Madonna. The red carpet is work for me. I work from 9-to-5 and when I get home, I don't want to go back to work by going to an industry event. For me, putting on makeup and a fancy dress is work.
I'm nervous every day on a film set. The anxiety of performance is not like anything else because you never know if you'll get there or not. There is an anxiety when it comes to finding the truth.
I'm nervous every day on a film set. The anxiety of performance is not like anything else because you never know if you'll get there or not. There is an anxiety when it comes to finding the truth.
What I didn't realize is how completely consumed I would be by my sons. I didn't know that the rest of my life would become so little a priority.
What I didn't realize is how completely consumed I would be by my sons. I didn't know that the rest of my life would become so little a priority.
I love to see theater but not to work in it. Too messy, and I have a bit of an inferiority complex.
I love to see theater but not to work in it. Too messy, and I have a bit of an inferiority complex.
Acting, for me, is exhausting. I'm always more energized by directing. It's more intense to direct. I can pop in and express myself, then pop out again. It's a huge passion for me.
Acting, for me, is exhausting. I'm always more energized by directing. It's more intense to direct. I can pop in and express myself, then pop out again. It's a huge passion for me.
I'm interested in directing movies about situations that I've lived, so they are almost a personal essay about what I've come to believe in.
I'm interested in directing movies about situations that I've lived, so they are almost a personal essay about what I've come to believe in.
[on devoting more time to parenting her sons than film work] There's something so pure about the ways boys love you.
[on devoting more time to parenting her sons than film work] There's something so pure about the ways boys love you.
[on "Foster Child", her brother Buddy Foster's unauthorized biography about her] A cheap cry for attention and money filled with hazy recollections, fantasies and borrowed press releases. Buddy has done nothing but break our mother's heart his whole life.
[on "Foster Child", her brother Buddy Foster's unauthorized biography about her] A cheap cry for attention and money filled with hazy recollections, fantasies and borrowed press releases. Buddy has done nothing but break our mother's heart his whole life.
If I fail, at least I will have failed my way.
If I fail, at least I will have failed my way.
[In April 2004, on the advantages of being an actress who is months from turning 40] They've lived longer, they're more confident about their choices and they don't have to be hip and cool anymore, which I think is a godsend--you make really bad choices when you are trying to be hip.
[In April 2004, on the advantages of being an actress who is months from turning 40] They've lived longer, they're more confident about their choices and they don't have to be hip and cool anymore, which I think is a godsend--you make really bad choices when you are trying to be hip.
[At age 14] Kids talk like sailors now. Adults don't want to know.
[At age 14] Kids talk like sailors now. Adults don't want to know.
I could tell you the criticism backward and forward about Little Man Tate (1991). But it didn't bother me as long as they were talking about the work and not about "she has fat thighs" or something. But I fared really well with "Tate", so I shouldn't be complaining.
I could tell you the criticism backward and forward about Little Man Tate (1991). But it didn't bother me as long as they were talking about the work and not about "she has fat thighs" or something. But I fared really well with "Tate", so I shouldn't be complaining.
It's not my personality to be extroverted emotionally, so acting has been helpful to me.
It's not my personality to be extroverted emotionally, so acting has been helpful to me.
Cruelty might be very human, and it might be cultural, but it's not acceptable.
Cruelty might be very human, and it might be cultural, but it's not acceptable.
Normal is not something to aspire to, it's something to get away from.
Normal is not something to aspire to, it's something to get away from.
[on her role in Taxi Driver (1976), when she was age 12] I spent four hours with a shrink trying to prove I was normal enough to play a hooker. Does that make sense?
[on her role in Taxi Driver (1976), when she was age 12] I spent four hours with a shrink trying to prove I was normal enough to play a hooker. Does that make sense?
Being understood is not the most essential thing in life.
Being understood is not the most essential thing in life.
Jodie Foster
Alicia Christian Foster was born in Los Angeles on November 19, 1962. She is the daughter of Evelyn Ella "Brandy" (Almond) and Lucius Fisher Foster III, an Air Force lieutenant colonel and later real estate broker. Brandy had filed for divorce in 1959 after having three children with Lucius, but the exes had a brief re-encounter in 1962 which resulted in Alicia's birth. Her older siblings nicknamed her "Jodie", a name she has used in her profession. She started her career at the age of two and made commercials for four years before making her debut as an actress in the TV series Mayberry R.F.D. (1968), on which her brother, Buddy Foster, was a regular. She stayed very busy as a child actress, working on television programs such as The Doris Day Show (1968), Adam-12 (1968), The Courtship of Eddie's Father (1969), The Partridge Family (1970), Bonanza (1959), and Gunsmoke (1955). In movies, her roles included playing Raquel Welch's daughter in Kansas City Bomber (1972) and a delinquent tomboy in Alice Doesn't Live Here Anymore (1974). Jodie first drew attention from critics with her appearance in Martin Scorsese's Taxi Driver (1976) alongside Robert De Niro and Harvey Keitel, where she played a prostitute at the tender age of 12 (she was 13 when the movie premiered) and received her first Oscar nomination as Best Supporting Actress. She went on to have a very successful career in her early teens with leading roles in the Disney films Freaky Friday (1976) with Barbara Harris and Candleshoe (1977) opposite veteran film legends David Niven and Helen Hayes. The last film she made during this era was the coming-of-age drama Foxes (1980), before enrolling at Yale University. During her freshman year at Yale, she was attached to a worldwide scandal when a crazed and obsessed fan named John Hinckley shot President Ronald Reagan to impress her.Jodie graduated from Yale in 1985 with a degree in literature. She resumed her acting career and sought a breakthrough role that would return her to stardom. After appearing in a few obscure movies with limited release, Jodie landed an audition for The Accused (1988) and was cast in the part of Sarah Tobias, a waitress who is gang-raped in a bar during a night of partying and teams up with a lawyer played by Kelly McGillis to prosecute the attackers. This performance earned her an Academy Award for Best Actress, but despite the Oscar win, Jodie still hadn't re-established herself as a bankable star. Her next film, Catchfire (1990), went straight to video, and she had to campaign hard to get her next good role. In 1991, she starred as Clarice Starling, an FBI trainee assisting in a hunt for a serial killer in The Silence of the Lambs (1991) with Anthony Hopkins, Scott Glenn, Ted Levine, and Brooke Smith. The film was a blockbuster hit, winning Jodie her second Academy Award for Best Actress and establishing her as an international movie star at the age of 28. With the wealth and fame to do anything she wanted, Jodie turned to directing. She made her directorial debut with Little Man Tate (1991), which was followed by Home for the Holidays (1995). These movies were critically acclaimed but did not do well at the box office, and she proved to be a far more successful actress than she was a director. 1994 was a huge triumph for her acting career. She first played a sexy con artist in the successful western comedy Maverick (1994) with Mel Gibson and James Garner. Then, she played title role in Nell (1994), co-starring Liam Neeson and Natasha Richardson. For her compelling performance as a wild, backwoods hermit who speaks an invented language and must return to civilization, Jodie was nominated for another Academy Award and won a Screen Actors Guild Award as Best Actress.Although she was working far less frequently as an adult than she did as a child, the films she turned out were commercially successful and critically acclaimed. Her next big screen role was in the science fiction drama Contact (1997) opposite Matthew McConaughey. She played a scientist who receives signals from space aliens. The film was a huge hit and brought her a Golden Globe nomination. She starred in the non-musical remake of The King and I (1956) entitled Anna and the King (1999), which was only modestly received in the U.S. but was very successful overseas. Three years after that she headlined the thriller Panic Room (2002), which co-starred Kristen Stewart, Forest Whitaker, Dwight Yoakam, and Jared Leto. The film was a smash box-office hit and gave Jodie a $30 million opening weekend, the biggest of her career yet. She then appeared in two low-profile projects: the independent film The Dangerous Lives of Altar Boys (2002) and the foreign film Un long dimanche de fiançailles (2004). She returned to making Hollywood mainstream films, first with Flightplan (2005), in which she played a woman whose daughter disappears on an airplane that she designed. Once again Jodie proved herself to be a box-office draw, and the film was a worldwide hit. The following year she starred in another hit, the bank heist thriller Inside Man (2006) with Denzel Washington and Clive Owen. Jodie was on a roll. Her next film was the revenge thriller The Brave One (2007), which once again opened at #1 at the box office and earned her another Golden Globe nomination for Best Actress. Following this succession of thrillers that all had her playing tough women, Jodie returned to the comedy genre in Nim's Island (2008) with Gerard Butler and Abigail Breslin. She will reunite with Mel Gibson in the upcoming movie The Beaver (2011), which is scheduled for general release in 2011.
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