Quotes of All Topics . Occasions . Authors
My interest as an artist is to illuminate the lives of black folks. I definitely am focused on films that illustrate all that we are and all our nuance and all our complicated beauty and mess, and when you're telling those stories, you gotta have black actors.
If you count my childhood appearances in a few TV shows and being the son of two well-known actor parents in the U.K., plus three years of drama school, you could say that I've been pretty much surrounded by the business of acting and performing my entire life.
You wanna do a lot of backstory for your character - as an actor, you wanna research that. But on the show, it's fun to remain in that naive place as you go along, and be able to continue to discover things about your character as the writers come up with them.
Deterrence is still fundamentally about influencing an actor's decisions. It is about a solid policy foundation. It is about credible capabilities. It is about what the U.S. and our allies as a whole can bring to bear in both a military and a nonmilitary sense.
All my life, I have taken inventory at intervals. For example, when I became a movie actor and suddenly I had to deal with fame, money and playing so many roles, I lost myself. I said, 'Who am I?' And I wrote my first book to deal with that, 'The Ragman's Son.'
As they say, there are two rules in improv: Never say no, and never ask why. When another actor asks 'Why?' or says no to something you're suggesting, then it's very clear that they're putting the onus on you, because they're not comfortable with it themselves.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it.
Heath Ledger's performance in 'The Dark Knight' quite simply changed the game. He raised the bar not just for actors in superhero films, but young actors everywhere; for me. His performance was dark, anarchic, dizzying, free, and totally, thrillingly, dangerous.
Working crew made me realise that the actors are a very small part of a very big machine, with each part being vital to make the show work. It so important to remember that it's not about you, it's about the show, and working crew hammered that point home to me.
I was born in Mumbai, but I grew up in England, and then my adulthood has been in the States. I'm an American stuffed with an English person with an Indian person inside. I feel like those things kind of inform me in some way, which I think helps me as an actor.
I love the incredible variety of demands directing makes on you, from the entrepreneur to the hustler to the deal-maker to the writer; to directing actors and the camera and working with music, sound, marketing and promotion. It uses so many sides of your brain.
I was studying with Stella Adler, who was a great, great teacher who encouraged me to be an actor. I had thought I would just write or direct or whatever. I wasn't thinking very much of Hollywood. I was thinking only of the legitimate theatre. But then I changed.
The real Pogba is the one you see every time. You know, when I'm on the pitch, I cannot act. I'm not an actor. So when I'm in the pitch, I like to joke and laugh, and outside the pitch, I'm the same. For me, I'm normal. I come and play football. I do what I love.
The most experience I had in the criminology field is playing a thug as an actor. That was my first paid job. The police academy at the college was paying people to reenact the calls that potential cops would get. So I got to play thugs and people who were unruly.
Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.
I dreamed of being an actress when I was a little kid because you don't know then that the writer writes everything the actor is saying. But as I got older, I got into college and became more aware that writing is another option, and I started getting into it, too.
That's one of the things I really respect and admire about 'Doctor Who', is that they're always thinking out of the box with the characters they write and the actor they employ to portray them. They're always challenging the stereotypes and peoples' way of thinking.
Ask everyone whether they're an actor or a doctor or a teacher or whatever is entitled to his or her opinion. But unfortunately, because actors are in the public eye, whether we want it or not, sometimes our opinions carry more weight or influence than they deserve.
I've done so many jobs. As an actor, you have to. I didn't have my parents footing the bill when I moved to New York. I moved here with, like, 300 bucks. I was a bike messenger. I was a waiter. I was a bartender. I worked in a consignment shop for high-end designers.
In the courtroom, it's where a lawyer really becomes an actor. There's a very fine line between delivering a monologue in a play and delivering a monologue to a jury. I've always felt that way - I've been in a lot of courtrooms. The best lawyers are really theatrical.
It's funny, because there are so many stereotypes out there about actors and movie stars in general, but I've had a great opportunity to meet a lot of them, and maybe it's just because they don't behave that way around me, but I rarely see that kind of abuse of power.
Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.
The funniest thing is I never understood why actors were so shady about who they're dating. Then I realized the things you say get printed and the people you're involved with read them. That's what's tricky. Nothing goes unnoticed. I don't want to get myself in trouble!
My mother is black, from Grenada, so my blackness was always there, but It wasn't until I started hanging with the upperclassmen black actors at my high school that I really got my roots in being a black American, which is a distinctly different identity and experience.
There were six kids in our family, and I grew up fast. I had to do a lot of things on my own. I was a rebellious teenager. That's why coming into the film business was good for me because it gave me some discipline. Once I became an actor, I had to grow up a little more.
My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
People ask me, 'How's 'Teen Wolf?' and I tell them it's literally the best job I've ever had. It's hard. Everybody wants to be a series regular. It's something that a lot of actors would kill to have. That being said, it's very demanding of you, in so many different ways.
I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.
I'm not really much of an actor, so when I started on 'The Daily Show,' I was just trying to adopt the faux authority of a newsperson. Having a British accent definitely gave me a sonic leg up on that because there is a faux authority to the British accent in and of itself.
You know, the period of World War I and the Roaring Twenties were really just about the same as today. You worked, and you made a living if you could, and you tired to make the best of things. For an actor or a dancer, it was no different then than today. It was a struggle.
The main thing is the ability to control your instrument, which, in the actor, is yourself. Look the way you want the character to look. Sound the way you want the character to sound. Once you've trained the instrument to do what you want, you're in control, and you're free.
I think that a lot of actors of color have said that it's a wonderful thing to play a role that doesn't have a race and that is kind of open to any sort of interpretation. I completely understand that, but at the same time, I just want Asian characters that are well-written.
I remember my first scene with Alan Rickman, and I was anxious because he is a slight 'method' actor; as soon as he is in his cloak, he walks and talks like Snape - it is quite terrifying. But I really wanted to talk to him because 'Robin Hood' was one of my favourite films.
When actors get pigeonholed, that's their own doing to a large degree. Because if you do something that people like, obviously they're going to ask you to do it again. It's up to you to say no. If you're that insecure about working, you'll probably do what you're known to do.
My father was a country music singer and a motion picture actor, Tex Ritter, and I sort of had a normal upbringing, except dad would come down in full regalia with the boots and the guns and the hats, and the horse would eat with us. But other than that, it was pretty normal.
When I talk to younger actors, and young people in general, who are holding off having children because they think they cannot fit them into their busy lives, I now know, and am able to say to them, 'You've just got to get on with it; there is never going to be a right time.'
My capacity as a monk was to passionately believe utter nonsense, and when you're an actor you have to do the same thing. Also, Christianity used to have a lot to do with self-loathing and an acceptance of criticism and things like that which is terribly important for actors.
I wanna do movies that in ten years time people will respect me for, as an actor. So if I do take two years off or three years off, the next movie I have that comes out you want people to go 'ooh, that's Frankie Muniz's new movie, it's gonna be a good movie cause he's in it.'
With every episodic, there's a learning curve where writers try to find the voice of the characters by way of the actors. Many details are found along the way. On 'Caprica,' although the franchise already existed, we were creating an entirely new world full of new characters.
Actors, who have no real sense of who they are or what they want, have long known that not just their gender but every aspect of their identity is on a spectrum. They can be anything they are asked to be. They aspire to a protean state, shape-shifting like high summer clouds.
As an actor, I enjoy variety. That's a big thing for me. So, if I'm going to put my name to something and commit to something that's going to take up a lot of my time, it has to be something that I know is going to be enjoyable and worth my while. Otherwise, what's the point?
When I went to get my master's in creative writing at San Francisco State after Grinnell, I joined the moribund remnants of the Actor's Workshop, until I saw Kay Hayward and Sandy Archer in the San Francisco Mime Troupe and drove down that day to audition. The rest is history.
It's mainly about working hard and proving to people you're serious about it, and stretching yourself and learning. The mistake a lot of actors make, particularly young ones, is allowing themselves to feel that they're the finished articles, the bee's knees, and it's not true.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
I was told that, when 'Betrayal' was being produced by one of the provincial companies in England, the two actors playing those roles actually went into a pub one day and played that scene as if it were really happening to them. The people around them became very uncomfortable.
I was born Joseph Lane, but when I applied to the actors union, they said they already had a Joe Lane on the books and I'd have to change my last or first name. I had played the character of Nathan Detroit, whom I liked very much, in 'Guys and Dolls,' so I took the name Nathan.
I still sing, but completely for my own pleasure. I play a nightclub singer in 'Sparkle,' but I'd like to pursue it a bit more. I sang at a friend's 60th at Claridge's the other month; I did 'Baby It's Cold Outside' with the actor Hilton McRae, and 'Somewhere Over the Rainbow.'
My acting teacher, Earle Gister. He had a genius for knowing exactly where every one of us were in our development as actors. He always knew precisely what to say or suggest to unlock a moment. He somehow always made it seem like it was our idea. I call him 'The Invisible Hand.'
'Spider-Man' was the best time of my life. I was there with my best friend. We shot in Atlanta. We shot every day and just had an absolute blast. 'Avengers' was crazy because you're on set every day with actors I never dreamed I would work with. I'm as much a fan as anyone else.
I was a stage actor for 20 years or so; I was leading men in classical things. 'Shakespeare,' you know. And now, I never play leading men. I'm that kamikaze comic that comes from the left, turns the table over, and leaves, or the hyper-intelligent yuppie scumbag if it's a drama.