actors Quotes

The job is nothing but a twenty-ring circus-with a whole lot of bad actors.

Some of the most intense affairs are between actors and characters. There's a fire in the human heart and we jump into it with the same obsession as we have with our lovers.

I know when I watch certain actors or if I watch Thom Yorke sing on stage, I'm affected by it emotionally. I guess that's what we are all striving for in art but that's such a beautiful thing that happens between two people that may never even meet. So when you do get to meet someone who was affected in that way, it's awesome.

What so many actors are chasing after is an opportunity to evolve and dive into roles that present unique challenges and give you an opportunity to dig your teeth into something unknown, and therefore risky and exciting.

Colloquialism is the toughest part of what we do, as foreign actors, because there are certain sayings that you guys have that absolutely don't make any sense.

When you work as actors in this business, you spend a lot of time apart. That's why a lot of marriages fail. It's not because of Hollywood, it's because you don't spend time together.

When you're working on a television show with actors, what you hope you're doing is playing jazz with them all the time. You see what they're giving you, so you try to write back to that, and then they play with that, and you get a sense of what is going on. That's just a natural way in which TV series usually work.

A lot of people think that, as actors, we have an endless supply of money, and you don't. It comes in waves, and then you're riding a certain amount of money for awhile. When you're at that point where you're like, \'Do I feed myself or do I do music?,\' it's a juggling act.

But, yeah, it was just the regular audition process. There were a couple people telling me about it and that they were looking for the actors, but my manager is pretty good at sorting that out. And, (casting director) Rene Haynes cast me in Into the West, and she's always kept in touch and been a real big supporter of my career.

If you have the right actors and you can give them the freedom to explore, you've done a lot of your work as a director.

There may have been great scripts, and perfect actors to fill the roles, but those pilot projects could be stopped at an earlier point. Now, damn near anything can get on the air, but who can get people to watch? There are a lot more choices, even if you get on the air.

Typically, among the audience members joining the actors, the director, Ann Ciccolella and myself, about half of these theater goers have read the novel [Anthem], and half have not read it. That is interesting.

In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.

Using non-actors has its own rules and really requires that you allow them to do their own thing.

Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.

It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.

I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

You can't start putting difficult clothes on a person. They're actors: they have to move, they have to feel real.

You know how hard it is to swim take after take and perform the next day swimming again? Me, I'm a terrible swimmer, but most actors with that tight schedule would be sick pretty quick.

I certainly know guys in comedy, I know some actors, and I definitely know some musicians, who have survived to a certain age and make a good living doing what they do, but nobody knows who they are. They wake up every day and they have the ability to get paid practicing their art, but underneath it all, if you scratched the surface, you still get, \'If I only had my own show . . .,\' or \'If I only had my own band . . .\' It's what people always do when they want to be their own star.

The second season is genrtrally easier do because you know the actors better and they know the characters better and if everybody likes each other you can really go all types of places.

I try and shoot as often as a can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.

I like to give the actors freedom to take what we have on the page and improve on it. And they do that quite a bit.

I've stopped showing actors what to actually do. I rather just talk to them about it. Then I usually play music. That's a great way to convey inner emotion, bring the power of style and acting together. That's really what it is, very good acting without talking.

I had to work with Ben Mendelsohn who's one of the great actors of our time. I had a lot of scenes with him and I was thrilled to be on the set with him; I just wanted to see how we were going to play it.

I love working with actors. If you cast the right person in the right part at the right time, they make you look like a better writer and director than you really are.

I love working with actors. I do.

Actors are easy to like. They are generally sociable, thoughtful people.

I like being around actors. Imagine not liking actors.