actors Quotes

I'm a theater actress and I thrive on working with other actors, and you can't be even a smidge bad, when you're acting with Charlie [Sheen]. He's just so natural, so present and so good that you have to step up to his level, or else.

Whenever I'm looking for actors, I'm always looking for actors who are intelligent and who feel fresh and who feel authentic to the world.

I doubt I'm more secure than Meryl Streep. I guess actors just never feel secure.

Most actors and actresses are performative as people. It goes part and parcel with the profession and New York actors who are out of work, or actors anywhere out of work, are manic because you never know when the next job is going to come.

I love working with actors. I grew up with a lot of actors. All my friends are actors. I love that process.

You have a lot more leeway to be contradictory playing a character than most of the scripts have in them. That's how all actors are. We have so many different sides of ourselves and we're so different, in meeting with different people. The audiences relate more to that and find that more believable.

The fuss that actors began making about the difficulty of shifting to sound struck me as perfectly foolish.

A lot of actors talk about doing their homework, but very few of them do it.

To have the freedom to be able to make choices is something I guess every actor aspires to. Most actors don't have those kind of choices. If the part comes along, they take it.

Actors, it's very hard for them to make value judgments when they play characters. It's very dangerous if you start thinking of yourself as a bad guy.

Some actors can draw from their own darkness.

The kind of acting that's wholly literary or cerebral is wrong. It's useless for me to have actors so much in their heads that they can't be organic.

The notion that acting is simply about intuitively responding to situations the way you feel couldn't be farther away from how I ask actors to work.

My job apart from anything else is to build an ensemble composed of actors who all come from a secure place so that they can all work together to make the film.

Some deeply untrusting actors - the kind that need to know exactly what's what and are completely insecure - might be quite good within the parameters of a certain sort of acting.

I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent film.

As the actors on the show we rarely get an opportunity to, as I said we get the scripts the night before but we have great producers on this show, so every once and a while matt or mike will say \'I want to take the character in a different direction this season, what do you think about this?\' and we do sort of get to add to it and feed it.

We're big fans of the show on BBC, and some of the greatest actors in film and television have done this character, from Basil Rathbone to Nicol Williamson to Michael Caine. (Executive producer) Rob Doherty came in with the pitch last season, it was immediately a show that we gravitated towards.

For me, it was a wonderful surprise because I saw wonderful actors being very professional working in front of me [on Chicken with Plums]. I finally understood what an actor is and what an actor does. On a daily basis, it's a bit repetitive.

Once we were on the set, we each did different kinds of work. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.

I was working with actors who were very easy to work with, but I can just imagine how, with all the other decision-making problems that come up along the way, in addition to that, the whole point of what your doing is following performance and character development. You're building your story with those building blocks, and it is not easy. I've only come out with more respect for directors, from this.

The real tough thing is working with actors. I'm a designer and used to working with artists, so there is some familiarity with the personalities that come up, but actors are their own animal.

More and more of our finest actors are finding room for themselves in the world of television - but I truly believe it's because some of the best stories are being told there.

It's hard for actors to have to deal with the fact that they pour so much into their character, but the audience might have a negative assessment of them.

The challenge, and also what I like most about a big ensemble movie, is that all actors have completely different processes and all of them prefer scenes to be done a different way.

The actors in Britain are incredible, and I didn't appreciate that until I got there. They interpret your words and you realize how deliberate and thoughtful they are. There are great American actors, too, don't get me wrong, but the technique that British actors have is something really special.

I don't have a problem with big name actors coming into animation. It actually has been done for years and we are after all actors, it is just a different medium that requires a different technique.

First we pre-visualized it so the actors could act. It took a long time to get that to come to life and to design those coming out of the screen. We had great fun with that. It takes a long time, a year maybe.

It might be different for people that are A-list actors, but a lot of us really look at what's offered to us and look for something that has some traction with other people. But, it's not like I read 100 scripts a week, and then pick and choose. Maybe some actors do. I certainly don't do that.

I think there's a big misconception out there about actors and the choices they have. I think if you're one of a lucky five, maybe, you're that privileged, but most of us are living paycheck to paycheck and we're really extremely grateful for opportunities.