Quotes of All Topics . Occasions . Authors
You really can't explain how you do the things you do. I can't, anyway. I love certain actors, but sometimes they say the stupidest things about technique. I don't want to say something stupid.
That's how I digest it, 'cause I can press the fast-forward button and I know that I'm gonna have to continue to be an actor, continue to make choices, continue to perform in a show every week.
You're always having to live more to fuel something new. It's an obligation to yourself and to the audience. The personal baggage that comes with being a known actor just adds to that struggle.
Against the background of this luminous and sparkling stage Bond stood in the sunshine and felt his mission to be incongruous and remote and his dark profession an affront to his fellow actors.
Quite often - a lot of the work I had done had been extensively with women. Most especially in the theater, but also quite often in the movies. That has its own delights, and maybe pitfalls too.
I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that too.
Sure, 'Twilight' is really huge right now and everybody's freaking out over it, but it will go away soon and I will be back to doing what I'm used to doing: weird little movies that nobody sees.
I know what my limitations are as an actor, but my strength is putting myself into a well-written part. When I get in trouble is when I have to fix it, or when I have to carry it on personality.
I've always seen myself for who I am, which is a lot of things. So, I guess that when I walk into a room, I bring all those things to a role, and I've always just simply seen myself as an actor.
The big turn in the late 90s was that I realized I was going to be doing this for a long time. I was fairly sure I was going to be an actor for the rest of my life, which I think calmed me down.
As an actor it's like, go with whatever excites you as an actor. What are you're going to invest yourself in as a character? What are you going to get into? Have a variety of characters to play.
I've worked with a lot of really fine actors, both on stage and on screen. The level of their game lifts me up and brings the level of my game up to theirs. Always. It's like a constant upgrade.
My goal as an actor was to work - to be a working actor, whether it was in theater, and, well, I didn't even consider film and television when I was in New York, but what came along, came along.
Being an actor, when you sign onto a project - whether it's good, bad, or indifferent - you kind of fall in love with it. You fall in love with the experience, you fall in love with the memories.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.
I'm picky, very picky. I wanted to be an actor since I was nine years old, and I figured that was only one way to ever have any longevity, and that's to be careful about what kind of work you do.
I don't like to meet the actor and have a lot of conferences and talk about their sub-life and their off-screen life and their back stories and all that nonsense, because it never means anything.
When you use any kind of internet based capability, any kind of electronic capability, to cause damage to a private entity or a foreign nation or a foreign actor, these are potential acts of war.
I was not able to understand how it could be right to pay an actor, or a singer, or an instrumentalist for entertaining the public and wrong to pay a ball player for doing exactly the same thing.
Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.
I started off doing plays as a theater actor. But I never thought of it in terms of it leading anywhere. I was just trying to be the best actor that I could be in the context of what I was doing.
I want to cast correctly, and then I want them to live on screen. If I cast the wrong actor, I'm screwed. But, if I cast the right actor, it really works out. The casting process is so important.
I have friends that are much better actors than I am that had to quit the business because they couldn't survive the auditions or the rejections, or people just didn't realize how good they were.
It's every actor's dream to be seen on the big screen. Having said that, it's also imperative to better yourself as an actor all the time. In that, all mediums become important in their own ways.
When I was a child, I wanted to be an actor, but I had really bad buck teeth. I didn't want to get braces, but my mom said I couldn't be an actor if I didn't get the braces. So, I got the braces.
What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.
It's quite clear if you look at the actors in film right now, some of them came from theater but they didn't come from musical theater. There's still a bit of a stigma attached to it I would say.
You can feel yourself trying too hard, doing too much. Nobody wants to watch somebody when they're needy, and actors are in the unfortunate position of needing to be cast and needing to be liked.
I always had this huge respect for American filmmakers and American actors. I always had this very strong love and respect for the American cinema. I always knew that I was going to leave Sweden.
One of the fun things about being an actor is stepping outside yourself and outside of your own experience. It's challenging yourself to totally commit to something that in your core is so wrong.
If I was ever to ask advice, it could be from any actor or showrunner or writer. I wouldn't necessarily ask an animate. I don't want to say that the wrong way, but animation's not really my world.
Very difficult to understand American audience, what they like, what they don't like. Some movie I like very much, it doesn't work. Some movie I don't like, it gets big box office. Very difficult.
The part that I felt most comfortable with going in was just working with actors and trying to make them feel comfortable and safe so they could find the performance. That part felt organic to me.
The other day, someone called me this generation's Bruce Dern - I'd never thought of that, and frankly, I don't know enough of Bruce Dern's work to comment on it, though he is an incredible actor.
It is interesting to be here and to see that for certain actors they have to live in a way that you think of nobody living anymore except for in small towns. They have such elaborate double lives.
I never wanted to be an actor and to this day I don`t. I can`t get a handle on it. An actor wants to become someone else. I am a song-and-dance man and I enjoy being myself, which is all I can do.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
The dilemma of Brechtian performance is that, for all of Brecht's emphasis on rationality and the undermining of theatrical illusion, the actor must convincingly portray something that she is not.
I simply know what the actor's attitude should be and what he should say. He doesn't, because he can't see the relationship that begins to exist between his body and the other things in the scene.
When you first start out as an actor, you're just looking for a good part. As time goes on, if you're being held responsible for the movies themselves, you're looking for a good script all around.
Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.
One of the perks of being an actor is to get to meet athletes that you respect. Especially who played before my time. Brooks Robinson is one of those athletes; they just don't make them any nicer.
By the time I was 14, I was about six foot. I remember going into auditions, and they'd look at how tall I was and say, 'Well, you're taller than the lead actor, so there's no way we can cast you.
If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.
The other death for an actor is comparing yourself to other people: Forget someone else's path. Concentrate on your path. Otherwise, you get lost, and if you don't have joy in the work, forget it.
I think that all actors find they go down and then they come back up if you work on your craft. They come back up to the top and then they go back down and they come back up and they go back down.
It's a very fascinating thing for an actor to play somebody who is suffering, and you have to express the suffering, but in an inarticulate way and sometimes a dysfunctional way, through violence.
I couldn't have left my career as an actor on a better note than to have done a cameo in the Lost In Space movie. Doing this part is the highlight of my career. What a way to leave the profession!
Let's be honest, any show will live or die based on how good the characters are, how good the actors are, how complicated the relationships are, how grounded they are and how much heart they have.