Quotes of All Topics . Occasions . Authors
I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.
Actors have bodyguards and entourages not because anybody wants to hurt them - who would want to hurt an actor? - but because they want to get recognized. God forbid someone doesn't recognize them.
I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.
When I interview somebody, I look at their resume to see what they've done, who they've worked with, and how many times. If they've gotten repeat work. Those are the kinds of actors I want to hire.
A lot of actors say that theater's the thing for them. And that's great, and I'm not one to speak with any authority about it because of not having done it properly. For me, movies are what I love.
Dustin Hoffman was the greatest. He had so much information to give and he mesmerized me. He really feels for actors who are just starting out and remembers his early days like they were yesterday.
I'm not a very methodologically pure actor. Almost every time that I start, I feel completely at sea. Always at the beginning I feel like a fraud, really, because I'm never sure how to get started.
More than an actor, I am a performer... I'm a great believer - honestly so, shamelessly so, vulgarly so - that cinema is for entertainment. If you want to send messages, there's the postal service.
I just want to do the best possible job with everything that I do. But I'm far more concerned with being a good father as opposed to being a good actor because that's what's really going to matter.
I'd be terrified even now for a Latin kid wanting to be an actor, but back then? Forget it. They must have thought I was going to be working in restaurants and driving cabs for the rest of my life.
I think the actor or performer should be - to touch that truth inside of a person. Touch that reality so much that they become a part of what you're going and you can take them anywhere you want to.
I think as an actor, you're constantly putting yourself out there, and a lot of times failing - and failing in front of a bunch of people - and sometimes you have a good moment and something clicks.
One person goes off and works in Houston the other person goes off to London and you're on the phone to each other and somebody is paying you to kiss somebody else. It's very bizarre being an actor.
You obviously don't have to be a murderer to play a murderer or you don't have to be a dictator to play a dictator. So, you're an actor. You come up with whatever you come up with to play that part.
Every actor I ever meet goes, 'Ultimately I plan on having my own company and write and direct,' but yes, I too would love to write and direct a movie. I want to do a play, too. I want to do it all.
I think naturally, if you're an actor, there's a high level of assertiveness that you need to have to survive this business. There's boldness in being assertive, and there's strength and confidence.
Molly Shannon and I used to always talk about that we really felt strongly that we were comedic actors, that we weren't comedians. You just played things real and the comedy came out of the context.
I've always thought of, of a relationship with an actor to an audience as a marriage, you know. And a story, you know. And there are ups and downs, and you work through them, and you work with them.
I never saw myself so much as an actor. I wanted to be a cartoonist like Charles Schulz and create my own world and be able to have a studio at home and not commute and be able to be with my family.
You know those movies where the people in the audience are screaming, 'Don't go in that door!' because you know the killer is there? Well, it is the same thing with this debt. We know how this ends.
I always wanted to be a comedian and actor. I basically stumbled into the music medium, though. I'm OK, but that's about it. I like to think I'm good enough not to negatively affect the performance.
I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.
I definitely get star-struck over - not so much actors and celebrities because I see them around and I work with some of them - but it's more things I'm not involved in that I get star-struck about.
I have a reputation for being an improvisational actor, which is true, but I also know what I'm doing so that if the improvisational strand doesn't work I can go back to what I know's already there.
There's nothing more exciting as an actor than getting to do something that you're not entirely sure that anyone would let you do, and getting to take a big jump in a completely different direction.
You really have to get out of an actor's head to write because actors only care about their part and it revolves around their part so "This is the important part because this is the part where..." .
I think the first British actor who really worked well in cinema was Albert Finney. He was a back-street Marlon Brando. He brought a great wittiness and power to the screen. The best actor we've had.
I never had the slightest difficulty with a fellow actor. Not until One, Two, Three. In that picture, Horst Buchholz tried all sorts of scene-stealing didoes. I came close to knocking him on his ass.
I don't intend to be insensitive to the victims and their families but, at the same time, as an actor, it's our job, and we are obligated to portray the characters in the most realistic way possible.
I just wanted to be in show business. I didn't care if I was going to be an actor or a magician or what. Comedy was a point of the least resistance, really. And on the simplest level, I loved comedy.
I just feel incredibly lucky to be employed when there are so many actors and actresses who are not employed. That's why, you know, I sometimes feel desperate, in case I'm not going to be cast again.
In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.
I usually don't say anything to the actors. It works better for me because when they come to the set, they are at the same time scared and excited because they are not well aware of what will happen.
I have never liked Morrissey, and I still don't. I think it's hilarious, actually, what things I've heard about him, what he's really like, and his public persona is so different. He's such an actor.
The United Nations remains our most important global actor. These days we are continuously reminded of the enormous responsibility of the Security Council to uphold international peace and stability.
I knew you had to go in and audition and maybe they'd hire you, and that's where you start. I had a good understanding about press: that it's the actor's responsibility to publicize his or her films.
I'm an actor who they said was wrinkled and balding and everything else when I was in my early 30's. Most of the people who wrote that who thought they were younger than me are now bald and wrinkled.
As an actor, you get to live out many professions. I just want to continue to evolve. My one goal in this business is just longevity and respect, and that's something I'll always have to work toward.
I slowly came to realize that this job of being an actor, you spend most of your time looking for work. That is your job. Your job is auditioning. You spend very little of your time actually working.
I'm happiest when I'm acting, and I've dedicated my life to it. Still, as much as I love acting, at the end of the day, I want to be remembered as a great person, first, and as a great actor, second.
I think what makes so many other actors miserable is focusing completely on making other plans. They're obsessed with their haircut and their headshot and their agent, their IMDB profile or whatever.
As much as I'd like to pretend that I'm not performing, I think any actor sometimes has themselves outside of themselves and is trying to direct themselves and control what you're seeing and thinking.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
[When you are an actor] it's not a burden to go to work whether it's hard work, whether it's super early work, whatever. So, I go there because I want to be there. I want to do this. That helps a lot.
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
I am someone who thinks that if you've got an actor like that who wants to perform your work, then you should do it, and hopefully Tom [Hardey] likes to do the work that I do, so long may it continue.
I have been in situations where actors are treated like robots: say the lines, say it like this, we don't have time for conversations. That is a terrible position to be in as an artist. You feel used.
There's nothing wrong with being an actor, if that's what a man wants. But there's everything wrong with achieving an exalted status simply because one photographs well and is able to handle dialogue".
When I used to do tours, I'd be anxious and nervous on the plane returning to New York. I now realize the reaction was because I was coming back unemployed. Actors are constantly being put to the test.
I really like being thrown into the works. Many actors, I have found, have this as a common trait. We had to, as children, adapt to various situations with either a military family or things like that.