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Actors Quotes

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Actors Quotes

“And what you do is you go into where your anger is, if you're writing anger, you go into where your hatred is, if you're writing hatred. Your joy is, if you're writing joy. You find the source of the energy that draws hatred, anger, joy, etc., etc., etc. That's what you have to find. That's what you do as an actor and that's what you do as a writer. And you bring people to the page.”

“Leonardo is the most incredible actor, on the planet, with a couple of people alongside him. Getting to act with him is just [amazing]. I walked away from my audition for that and I couldn't believe that I'd been acting with him. I've worked with amazing people, but my friends freak out that I'm working with him. I freak out in a geeky acting way. They freak out in a starstruck way. He's Leonardo DiCaprio, and his fame is so big. That's a complete tangent about that.”

“It's disheartening that animal people criticize societies that enlist the help of actors or organize creative acts like 'I'd rather go naked than wear fur,' to increase public awareness to our cause. These are great/courageous ideas which time has come! Liberation of animals is REVOLUTION - not elegant performance/ intellectual competition. We should do most anything to advance the animal rights cause. All the bickering may make the one step forward... TWO STEPS BACKWARD???”

“When I got the script to this movie, The Good Girl, I read it in an hour. The writer, Mike White, has an ability to create characters that are so creepy and dysfunctional and human, with this duality that makes people feel empathy for them at the same time. My first thought was 'Was this sent to the right person?' I called my agent. 'Are they sure? Let's say yes before they realize they've sent it to the wrong person!'”

“I try to keep away from being bigheaded. That's what causes people to lose the acting thing. They start being commercial, and then they stink the rest of their life. But there are several respected adult actors who were child actors that started very young. I'm going to try to model myself after Kurt Russell and Jodie Foster. Just keep learning from the role and not just go for the money.”

“On the one hand, you have these huge budget films that cost millions of dollars. They are effects driven, they don't have well known actors in them, and they are making money. Well, some of them are. One the other hand, you have Stallone and Statham, and guys like DeNiro and Pacino, and Costner, who are all trying to make movies about real people. They are interested in character driven projects.”

“You become funny for a reason. I became an actor because that's who I was, nothing else - it was the only thing I was good at. You become a clown and you make people laugh because a) it protects you from everything, and b) it's this validating force in your life. And when you're 12 and 13 years old, you need validation and you're lost and you're kind of floating and you suffer from a severe learning disability and you're overweight and you have glasses... you become funny for a reason.”

“Acting is not a genteel profession. Actors used to be buried at a crossroads with a stake through the heart. Those people's performances so troubled the onlookers that they feared their ghosts. An awesome compliment. Those players moved the audience not such that they were admitted to a school, or received a complimentary review, but such that the audience feared for their soul. Now that seems to me something to aim for.”

“In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.”

“In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers :;that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks ... Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.”

“All I'm saying is we got plenty of Texans, and people from Montana, and New Jersey, and Wyoming, or Kansas City. We got plenty of actors. So we don't need some cat from Cardiff-upon-Rosemary-upon-Thyme, or whatever the hell it is, playing people from Montana. And in the reverse, they got plenty of people from Cardiff-upon-Rosemary-upon-Thyme that they don't need our asses coming over there trying to do British accents.”