Acting Quotes - Page 89

Grid View List View
Quote of the DayPicture QuotesTop 100 Inspirational QuotesTop 100 Love QuotesTop 100 Happiness Quotes
Pope John Paul IiGeorge OrwellVoltaireTyler, The CreatorJohn C. MaxwellNapoleon BonaparteEpictetusOprah WinfreyMartin LutherJohn Muir
Best FriendKarmaQuiet PeopleMoving OnGardeningGreatUpliftingLifeAttitudeVacation

I remember being cast in the first "Harry Potter" film and being quite amused, because I was imagining that someone who'd been acting since they'd been crawling would be cast. The faith and trust that they'd put into everyone actually enabled you to gain confidence back, in the sense of feeling that sense of achievement, which is incredibly hard when you're young.

You know, women are acting the way they want to act now. Years ago they would hide it in the way they dressed, the way they speak, even the way they act in bed. Today, they're doing the same thing, but they're dressing the way they want to be treated and, when you're with them, acting the way they want to act. And you know, honesty is the best policy. I love that.

I like the fact that I like to think out-of-the-box. Thinking out-of-the-box goes along with dressing out-of-the-box and living out-of-the-box. If you want to come up with a really original design idea and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.

The writing is amazing because having a hand in creating what you're going to be performing... there's nothing like it. It's always going to be better suited for you. You're always going to know the lines faster, because you wrote it. The writing is so very hard. It's the hardest part of the whole process. In some ways the acting is a lot easier and a lot more fun.

It was always fun auditioning for commercials, because that was the beginning of my career, and me figuring out how I was going to portray myself as an actress vs. a model, because models were very different back then in the early '70s. They didn't usually hire models for acting. But I acted first in commercials and then I did modeling, so it was a little different.

What I like about [Berthold] Brecht, it's very interesting. When Helene Weigel came over and somebody talked about Lotte Lenya and said "well, she wasn't alienating." And Weigel said "No, no, no. Why, Lotte Lenya was so true - who cares?" She said: "Berti only developed the theory of alienation in order to stop bad acting." I heard her say that. Now that's brilliant.

The thing is doing it, that's what it's all about. Not in the results of it. After all what is a risk? It's a risk not to take risks. Otherwise, you can go stale and repeat yourself. I don't feel like a person who takes risks. Yet there's something within me that must provoke controversy because I find it wherever I go. Anybody who cares about what he does takes risks.

To me, the producing falls into the same as acting. It requires so much time out of your life, and I take it very personally, I realize. So if I do something, it just has to be something I love and I don't want anyone else to do. When I open projects, maybe something will appeal to me. I think I'm not opening them because I don't want anything to appeal to me right now.

I really do love doing stand-up, and I don't see why it should affect the acting. And I just want more interesting jobs. I just want to keep doing stuff that's different, rather than saying, "Okay, I've become known for this, and I'll just do this from now on." If I feel like I've done this one thing, I never want to do it again. I want to do something totally different.

I've always enjoyed acting, but there's a part of me that's shied away from living a celebrity life. I don't feel comfortable being noticed all the time. Sometimes I even fantasize about doing things other than acting. But I can remember being back on set the third day of my latest project and going, "Ahh, this is what I have to do for a living." It's what makes me happy.

It is not enough to ask, 'Will my act harm other people?' Even if the answer is No, my act may still be wrong, because of its effects on other people. I should ask, 'Will my act be one of a set of acts that will together harm other people?' The answer may be Yes. And the harm to others may be great. If this is so, I may be acting very wrongly, like the Harmless Torturers.

Start buying gold now, regardless of the price. By acting now, you will not have to react when it's too late. Too late will be when the majority of the public finally figures out what is happening to paper money and frantically tries to get aboard. Remember, if you're one of the ones holding paper in the end, you will have given away your products and services for nothing.

In most ecological systems you have a composite, biotic components as well as abiotic components acting together to form a whole, whereas in a human built environment most of the components are abiotic or they are inorganic. One of the first things we need to do is to complement the inorganic components with more organic components, and to make them interact to form a whole.

Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor

When I came to faith, I thought I would have to stop being an actor, because it's all about artifice and manipulation. But we're living in a world where God doesn't really have an influence, unless it's fundamentalists, so I'll always be an outsider because of my faith. And when you think about it, faith and acting are all about stories, so the two are not mutually exclusive.

I've always loved teaching acting. I think it helps me to kind of get back to basics. It's like a refresher course for me as well, so in a sense, I'm hopefully learning as much as my students are - or at least discovering or re-discovering as much as they are. I find that when I teach, I'm reminded of my own sort of failings. I'm reminded of where I sometimes keep going wrong.

Robert DeNiro, who may be the greatest living actor, usually acts in a way which is very stone-faced, like Steve McQueen. For example, Steve McQueen, if you cut the sound, you don't know what he's acting really. He gives to the lines, to the text, something very special, and he's very good. He was a great actor. But, to do a silent movie, you have to have more expressive actors.

There is still so much that I want to see and do, but for me, it's the pure satisfaction of doing what you really want. I always had a problem doing things that I didn't want to do. I don't have a problem when my director says: "Don't do it like this; I want it like this." But generally in life, I like to do what I want, and for me the best way is through acting and making films.

You don't have that interaction with the audience when you're acting for film; you're kind of acting in a vacuum. You're acting for a disinterested grip who just wants to reply to his wife about what time he'll be home for dinner. Everyone else on a film set is also there because they're paid to be there. They're not there because they're passionate about what you do necessarily.

It is impossible for any rational creature to be happy without acting all for God. God Himself could not make him happy any other way... There is nothing in the world worth living for but doing good and finishing God's work, doing the work that Christ did. I see nothing else in the world that can yield any satisfaction besides living to God, pleasing Him, and doing his whole will.

While acting in Armed Response I was always focused, just so they could see me as a peer and maybe not some idiot who's coming in from the pro-wrestling world. I'm sure they had their preconceived notions about me so I just hope that once we were finished with a scene, or finished with the movie overall, that I managed to change their perspective based on what they were expecting.

Reagents are regarded as acting by virtue of a constitutional affinity either for electrons or for nuclei... the terms electrophilic (electron-seeking) and nucleophilic (nucleus-seeking) are suggested... and the organic molecule, in the activation necessary for reaction, is therefore required to develop at the seat of attack either a high or low electron density as the case may be.

I was an actor when I was a teenager and it could have been the direction that I headed in. But music and my relationship with music is quite deep, and it really is the nucleus of my creativity. So I gave up acting so I could pursue music fully, and I never thought about really going back. And then [director] Lee Daniels met me and wanted to work with me, and that's how it started.

Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.

Whether you're acting or you're writing, your skin is just basically ripped off and you're putting yourself out there. At least the acting part comes with a bit more social interaction. And you're a bit less isolated because you are working with the director and the crew, and there's a general camaraderie. Writing, you're totally isolated. You're just trying to get the words on paper.

Relationships, easy to get into, hard to maintain. Why are they so hard to maintain? Because it’s hard to keep up the lie! ‘Cause you can’t get nobody being you. You got to lie to get somebody. You can’t get nobody looking like you look, acting like you act, sounding like you sound. When you meet somebody for the first time, you’re not meeting them. You’re meeting their representative!

Never wanted to do anything else than acting ever in my life. But I'm 20, and there's so many possibilities. It would be insane for me to say, "Yeah this is definitely it, I'm never doing anything else." I'm 20 years old. I don't know what I'm doing. I don't know anything about life. So I don't know. I may be a train conductor in 10 years. I have no idea. And that's the joy of this all.

I'm definitely not a model. I just get to, in the course of what I do, especially with acting and dressing up and getting into different characters and doing one-off campaigns with brands I really love, I get to be a model for a day. I walked on one catwalk once, and it was the most frightening thing, because you're just putting one foot in front of the other, but it was pretty mortifying.

I think coming off of "Blame", I've been talking a lot about directing. It's something that I really love and connect with. I truly consider it what I was born to do. That kind of loops in with filmmaking on the whole, because when you create something, you're also wearing a lot more hats than just director. At the same time, I also think acting is something that's very powerful in my life.

When I'm acting, I have zero control, and it's the scariest thing anyone can do in that field because, you know, your face is always the one that's out there in front of the camera, and any number of things can happen to you once you've done your work. It can be edited badly, it can be distributed badly, or it can not be distributed at all. And I've certainly experienced that; every actor has.

Confidence. That's huge as an actor. Confidence can get you a long way. Maybe it's a cultural thing, being Korean, but my first reflex has always been to exude humility - but it doesn't help you in acting. For acting, humility isn't the best thing. It'll weaken your work. So it's a head game for me. "Can I really be confident in knowing my skill set is down? Can I perform like I own this role?"

For me as a woman pride is not really sin, but rather something that I still have to learn. The male conception of the person who rebels against God by affirming himself, by acting proudly, arrogantly, and without constraints, is not a woman's concern. Rather, we women are in danger of not developing any pride, of never becoming independent, of constantly remaining within too narrow boundaries.

My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.

I'll never forget John Heard doing Shakespeare In The Park with Raul Julia and Richard Dreyfuss. It was 30 years ago, I guess. It was Othello, and John Heard played Cassio, and while everyone else was "Acting!" Heard came on talking normal, and everyone in the audience was leaning in to follow him. I wasn't doing that in Bus Stop. I think in that performance, I was putting it out a little too much.

As an actor, it's always important to understand what the director is after. That, to me, is my job. When I'm acting, I like to ask a lot of questions and understand exactly why the director is doing what they're doing, so that I can provide him or her with the ingredients that they need to get the scene that they want. It's not to challenge them, in any way. It's just so that I can do my job best.

I have the confidence that I can take anybody and have them give a good performance, because I don't think there's anything to acting except expressing, being able to converse. So if I can just convince somebody not to clean themselves up, and not to be someone that they're not, and just be what they are in given circumstances, that's all that acting is to me, and I don't think it's very difficult.

I've tried to divide my time between the US and New Zealand, but it's difficult, and I suddenly realized that I like acting here in Los Angeles anyway. Because when you first come here; especially from New Zealand, you go, This is the ugliest, nastiest, grayest, smoggiest town in the world, and then your scale of beauty adjusts and suddenly you think, Oh, isn't it beautiful, not too much smog today!

We're not allowed in the cutting room - and that's extraordinary. So, when a director is asking for certain nuances and colours and we feel that they're phoney, but we do it because the director asks for it, that's the one that they pick in the cutting room. And I contend that when you see a movie with bad acting, don't blame the actor... blame those guys in the cutting room because they like that take.

You know the theory of cell irritability? If you take an amoeba cell and poke it a thousand times, it will change and then re-form into its original shape. And then, the thousandth time you poke this amoeba, the cell will completely collapse and become nothing. That's kind of what it's like being famous. People say hi, how are you doing, and after the thousandth time, you just get angry; you really pop.

The whole acting and Hollywood [thing], it's just work to me. Stand-up comedy ruins you so badly for doing television. I don't really need to be known anymore than I am. The slight sliver of fame I do have is hard to deal with. If I was actually well-known - I don't even know what to say to people who are at my show when I walk into the venue, much less having waitresses in diners asking for my autograph.

I'll tell you this: you cannot escape the impact of emotion, whether it's in a big theater or a tiny one. If you have it, it inflates you — correction, 'inflates' is not a good word. If you have it, it infects you and the audience. If you don't have it — don't bother; just say the lines as truthfully as you are capable of doing. You can't fake emotion. It immediately exposes the fact that you ain't got it.

Pathological states are the consequence of several determinate factors acting simultaneously...The manifestations of any given agent differ profoundly from one person to another. ...Each noxious agent can express itself by a great variety of different pathological states. ...Different agents can elicit similar reactions. ...The total environment and the (interior medium) constitute a multifactorial system.

You can't show up on set and expect it all to come together. You have to have a plan, much like how the director can't just show up and go, well, where should I put the camera? That is gonna determine how it is lit, you should have already been in the room looking at it earlier, pre-lit the room, you know there is a lot of prep that goes into it, so it is the same thing with acting. You can't just show up.

I've been acting for years and years, at prep school - school plays, that kind of thing. That was always very high on my agenda. I went to study English for two reasons. Principally because when I was in university, studying drama wasn't considered an option. You couldn't get a degree course for it. And so many plays and things that I was interested in landed themselves in a broader spectrum of literature.

I do not believe in free will. Schopenhauer's words: 'Man can do what he wants, but he cannot will what he wills,' accompany me in all situations throughout my life and reconcile me with the actions of others, even if they are rather painful to me. This awareness of the lack of free will keeps me from taking myself and my fellow men too seriously as acting and deciding individuals, and from losing my temper.

If we want to be a person of integrity, we act as if we have integrity and we will be a person of integrity. If we want to be a person of charity and love, we act as if we have that characteristic and we will be that person. The Savior alluded to this principle when he asked, ‘What manner of men ought ye to be?’ Verily I say unto you, even as I am.' We should strive to become like him by acting as he would act.

I've done so many other projects where you're in a room with a reader and you're acting your lines out: 'We have to get out of here! Any minute the building will explode!' And then the reader says: "Yes...we have to get... out of here." So it's not easy to be in the moment in that kind of situation. Reading with the entire cast in the room for The Clone Wars makes the experience much more organic and I love that.

The biggest compliment? I would say, "You helped me." I think in terms of life, not just with acting. But certainly with storytelling, being able to hold up a mirror and allow someone to relate to a story and see something in themselves to the extent that you're in service to another human being - I don't know why else we're here. To know that I helped someone would be the biggest compliment I could ever receive.

Whether my acting was obscene, or whether it was distasteful, well, Judge Rehnquist, who just recently passed away couldn't define pornography. His comment on pornography was, "I may not be able to define it but I know it when I see it." That's not law. That's definitely not law. Really, this trial should have been an organized crime trial. About murder and tax evasion and brutalizing people. Not about obscenity.

Chloë Moretz as Carrie has an inherent amount of charisma, the camera loves her, she's been acting since she's five, she's a total pro, she knows her instrument. I took her on this phenomenal journey from a confident child star who has the great privileges of a family who loves her, great success, and huge confidence, to a wounded woman who had to gain her confidence back and desperately wanted love and acceptance.

Share This Page