Quotes of All Topics . Occasions . Authors
I don't think people want to see me as a regular guy. Besides, I'm a regular guy in real life. I guess I just want to be reckless in my work.
You can be intuitive when you've got a more expansive role. You can get into the poetry of telling the story rather than just pushing buttons.
I try to do as many of my own stunts as possible. If you keep on taking yourself out of the role you play, you lose the thread of the character.
I guess they often cast me as the bad guy, because I'm not, er, conventional looking. I look sort of violent. I'm the odd one out, the outsider.
All the time, as an actor, you want to be asking what's next and where things are going. If you're not asking those questions, you're not growing.
In my experience, sometimes a movie just hits at the wrong time, gets the wrong press, or gets the wrong representation, and it gets misunderstood.
I don't want people to know anything about me, because that's not important. I'm more interested in the me that takes shape through the characters.
Film is fragmented and gets into lots of other people's hands. There are a lot of pleasures that theatre gives me. You get to perform uninterrupted.
It's no fun for an actor to keep repeating what you did before. It's always changing. I'm changing. The target keeps moving. That's the beauty of it.
I set myself challenges every time I work. Ideally I approach everything as though it's the first time - with a beginner's mind and an amateur's love.
I set myself challenges every time I work. Ideally, I approach everything as though it's the first time - with a beginner's mind and an amateur's love.
Plenty of bad movies are very successful, and plenty of good movies are not. And distribution is so crazy, some films won't even get their day in court.
The mask can be a limitation, but you just deal with it. You do get superhuman strength and pumpkin bombs and all this other stuff to express yourself with.'
It's fair to say that if you have a lot of experience, your power is greater. You have more of an opportunity to roll up your sleeves with younger directors.
I love doing action and stuff; the problem is usually action movies are not that interesting. Also as I get older I feel like there's less opportunities for me.
I think on some level, you do your best things when you're a little off-balance, a little scared. You've got to work from mystery, from wonder, from not knowing.
I was born William. My father was William. I came from a big family, I hated being called Billy. Willem's a nickname; it's a Dutch name, very common in the Netherlands.
Sometimes you make very interesting movies that aren't meant for everybody. But this is a capitalist society, so everything conspires to put value on whether it sells or not.
I love Sam Neill. The thing that I always say about him, and I think it's true, is he's so dry. When he's serious, I think he's joking; when he's joking, I think he's serious.
Film is an editor's medium. You can create very good raw material and they can make it horrible, or you can do not so well and they can make it beautiful. You don't really know.
Sometimes I think women are lucky because they can develop in ways men can't. The old-boy network may be oppressive to women, but it actually stunts men in terms of personal growth.
When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.
I don't have a preference between theatre and film; I like to do both. But I will say that there's something about theatre that is more nourishing and sustaining than film ever can be.
I don't worry so much about the audience. I want them very much to be involved and enjoy the movie, but I try to just inhabit the character in a full way, where I can create a personal stake.
Performing is about developing empathy, which leads us to a broader view of the world and encourages us to develop compassion; so we can comfort each other and not be so brutal with each other.
A lot of critics are lazy. They don't want to look closely and analyze something for what it is. They take a quick first impression and then rush to compare it to something they've seen before.
Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.
That's a frustration sometimes, that certain directors that I'd like to work with, they just aren't doing stories that I'm sort of castable in. Not always, but sometimes I have that frustration.
The English Patient' is about the coming together of a French-Canadian nurse, an English patient, a Sikh in a turban and me, Caravaggio, and each of us is seeking a resolution to our own problems.
It makes me laugh when I hear a guy talking about being in touch with his feminine side. But I gravitate towards women, I identify with them. And I do cry very easily, more and more as I get older.
It makes me laugh when I hear a guy talking about being in touch with his feminine side. But I gravitate towards women; I identify with them. And I do cry very easily, more and more as I get older.
I knew very little about 'Spider-Man'. I grew up more in the 'Superman' generation. 'Spider-Man' - I didn't know so much. But it is a really successful franchise, and I'm happy to be involved with it.
I'm an optimist. I hope if a movie's good that it will be a success, but as we know, that's not always true, just because of popular taste, advertising, distribution patterns - there's lots of reasons.
I do know that I like to play characters that are sometimes a little on the outside - that's because it feels kind of romantic and sexier to me. I really think they are the people that we learn lessons from.
For every role, you have to always find a different way to approach it, one that's specific and suits what the key is. Every role's a mystery. I think if you know what it is, you probably shouldn't even do it.
When you work on anything, you want to find the range of impulses - which ones get portrayed is another question, but you want to have that complexity and that fullness, even if you're playing a cartoon character.
The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.
If you get stuck and it feels a little stiff, then you do have to mess it up to find it. But other times it's really written and you just stick to your guns and do it as elegantly and as concentrated and as committed as you can.
One of the pleasures of being an actor is quite simply taking a walk in someone else's shoes. And when I look at the roles I've played, I'm kind of amazed at all the wonderful adventures I've had and the different things I've learned.
I think, as I've gotten older, I've been able to be more reckless with my choices, because practically speaking, you get less careful. Your choices become more instinctive, and you feel like if you make a mistake, it won't destroy you.
I was doing community theater, and I was always interested in acting, but I was also interested in sports. I was interested in a lot of things. I was a pretty normal guy. I wasn't like a guy who grew up in a dark theater watching movies.
I'm one of those people who when I go over a bridge, I want to jump. It's just this intense tickle in the back of my throat. It's like I'm on the verge the whole time I'm walking over that bridge, and I'm not going to get a release until I jump.
The real difficulty for smaller films, when they're made independently and it's time to go for a distributor, sometimes if it's a tough film and the people who financed it need their money back right away, it's much easier and lucrative to take a DVD deal.
Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.
I feel like it's important to be flexible, particularly when I'm coming in late in the game and I'm connective tissue in the story. I'm not at the very center. It's important for me to have a certain kind of flexibility and try to help people do what they need to do.
In films you do a scene, you play around with it and unless you're doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.
I wish to Christ I could make up a really great lie. Sometimes, after an interview, I say to myself, 'Man, you were so honest - can't you have some fun? Can't you do some really down and dirty lying?' But the puritan in me thinks that if I tell a lie, I'll be punished.
I try to attach myself to people who really inspire me, and directors who are really passionate. That way, I can give myself more fully and trust the impulse behind why the film is being made, and I can be a little more irresponsible in finding out what the character is.
The truth is I like the crazy ones better than the well-behaved ones normally because they tend to be the passionate ones. They never come after you if you're holding up your end. The only thing that's bad about an abusive director is that they bully the people they can.
The Midwest isn't somewhere you mix with those from the performing arts. But my mum and dad would go off to Chicago every so often to see shows. They would bring back the albums and the movies, those little eight metres, and we would all watch. I think that was when I fell in love with acting.