Quotes of All Topics . Occasions . Authors
I have a theory. An audience doesn't need to get wrapped up in blackness every time they see a Negro actor. And a movie doesn't have to be about race just because there's a Negro in it.
Growing up I didn't want to be an actor. I sort of didn't want to go into the family business; the main reason being there was something I wanted to do far more, which was be an artist.
I wanted to be a stage actress. I wanted to be a New York actress and have a community with other actors. I didn't want to get famous; I always thought getting famous was a drag on you.
When I analyse myself and my reactions or behaviour, there is the act and the actor. There is a division between the two and that creates conflict between "what is" and "what should be".
Now while the German money is over for Hollywood, I still have $80 million to make movies, and we will have two things coming up: less major movies and the price for actors will go down.
As an actor, you always think that whatever job you have is going to be your last. In some way, shape or form, you think you're going to screw it up and you're never going to work again.
I started off on stage because it was the only work I could get. I haven't been back for 11 years. I think any stage experience is good experience, as far as being an actor is concerned.
There are many actors who have inspired me: Spencer Tracy for his incredible elegance and, of course, Cary Grant. But, there's also an Italian actor I admire a great deal: Alberto Sordi.
The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
You can take wonderfully talented actors, wonderfully talented writers and producers, and, uh, do a wonderful show!... but if it doesn't hit with the public in two minutes, it's bye-bye.
At a certain point, you have to convince the actors that you've done the right thing. The way I work, if I can't convince them, I've got to move on. I can't coerce them or browbeat them.
Bollywood actors are so set in what they want, and the way they want it. And why shouldn't they be? But it is not the same in Hollywood, because the love of the audience is not the same.
Yet in the celebrity-obsessed culture, where everything of you is a shot on the red carpet, I don't want that to dominate my image. First and foremost, I am an actor. I want great roles.
It wasn't as though I really made a commitment to it; there wasn't anything else around. So I wasn't driven to become an actor.. it just seemed to be the thing that I managed to do best.
It's just people should realize that the celebrity aspect of being an actor is very rarely enjoyable for people like me who would always rather go unnoticed and disappear into the crowd.
There are two kinds of actors: those with one job too few, who have to take every one that comes along, and those with one job too many, who can always turn down the one they don't want.
Every time I am reading actors I can pretty well tell which ones have studied with Meisner. It is because they are honest and simple and don't lay on complications that aren't necessary.
Young actors are serious about their work and don't take any time out from it. I'm very serious about my work; there are probably only two films I've done where I had a really good time.
Harrison Ford - one of my favorite actors - has a wonderful sense of character and depth and uniqueness to him, yet he's able to just deliver the lines without putting any English on it.
To be an actor, a lot of times it's a strange combination of high confidence and low self-esteem. Which is a weird combination to have, but I think it's sort of very common among actors.
It was always my intention to direct. I went to film school. And then I wanted to know how to work with actors, so I went to acting school. And then by the end of that, I caught the bug.
I like letting takes play out, beginning to end. I don't like doing pick-ups of one line or another. I like letting the actors discover the flow of the scene, inside the scene as a whole.
I love working on 'Glee,' and I hope that there are more and more parts for me and other actors with Down syndrome in television and in movies so I can keep working for a long, long time.
When I finished my A-levels, I assumed I'd be able to get work as an actor. But I couldn't. I didn't get an audition. Nothing. So I thought I'd better train and then the parts would come.
I've always written for actors, and if you want to write for good actors, you have to write parts that are surprising, that are human, and that allow them to go to a wide range of places.
I seem to be able to disassociate my insecurities. I know a lot of actors - some of the best actors in the world - can't bear to watch themselves and I have to say I can't relate to that.
Kristen Bell is rare as an actress, because she's the type of actor who jumps out of a plane without a parachute - from a totally fearless place, which is really refreshing and inspiring.
The main reason for choosing a project is not really the renown of the director that's making the project. I feel like it's the fact of an actor to constantly want to do different things.
We actors have it pretty easy and pretty hard. Easy cause we have a meal provided to us every 6 hours every day and craft services. The hard part is staying fit under those circumstances.
I've never been competitive with other actors. I've been competitive with myself and I'm my own worst critic, a terrible critic I am, and unless I get something right, I feel very unhappy.
I never know what to call the subjects in my pictures because I'm uncomfortable with the word actor. I think maybe subjects might be more accurate - or maybe even more accurate is objects.
Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.
Other actors dont get asked about their brothers or sisters, so why do I have to always answer questions about having a twin brother? I suppose its interesting for everybody other than me.
I honestly have no interest in celebrity whatsoever. If anything, I always cringe at it because it takes away from what I am, which is an actor who wants to be better and do better things.
It's harder to work with people who are not as dedicated to their craft. It also leaves you a better actor when you finish the project, since you always feel like you've learned something.
I trust the [series] writers when I'm filming, because it's interesting for me to go in every week and see what's going to happen, and the challenge for me as the actor is to make it work.
You know, for an actor to come into the midst of that, it's - It can either be difficult and somewhat unnerving, or it can be very embracing and like, kind of stepping into a nice hot tub.
Acting is not a mystery. There's nothing that I know that other actors don't know. We all act, we're all actors, we all know the same thing. The only thing that separates us is experience.
I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.
I just want to keep doing things completely different from the other. I just want to keep working with great people, great filmmakers and great actors and just building on that experience.
If I have to wear a hat as a producer to do that, then I'm willing to do that. An actor's, producer's and director's point-of-view is all the same to me, as long as the story's being told.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
T.V.s weird because its both the greatest gig as an actor potentially because it can be all this work for all this time, but there are so many question marks at every stage of the process.
Probably the biggest challenge is actors, no matter how talented the actor is they don't have the capability of being in more than one place than one particular time, which is very vexing.
When we approach history, we are dealing with a conglomeration of irrational continua. Those who deal with history by nonrational processes are the ones who make history, the actors in it.
One of the wonderful things about the actor's life is that's what we have the opportunity to do; we bring all these aspects of ourselves and of our personal lives into the work that we do.
Forgiveness is mental floss! Build the capacity to forgive slowly - start with little unkind acts, otherwise you'll sabotage yourself. When we forgive, we forgive the actor, not the action.
I've always felt that actors in my experience have a very good and accurate instinct about whether something feels right or not. They just have a sense because they have to literally do it.
I like to learn the lines and not get any precontrived things in my head about the part. Just get on stage and see what the other actors are doing, and respond to them as honestly as I can.
The process of finding an actor is always difficult and there's always so many variables that come into play. Also, actors sometimes carry baggage, fans associate actors with certain parts.