Christoph Waltz Quotes
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Stephen Sondheim I am in awe of.
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I'm very bad with improvisation. I hate it.
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You're always being cast for what you've been in last.
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By looking into more details of American history, we can make more sense of what's happening today.
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For a while, I couldn't decide whether or not I should pursue singing in the opera or acting. And I'm glad that I chose the latter because I wasn't a very good singer.
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I know from my experience in theater that the crowd is different every night; the reactions, the tension. But it's true for film as well, going from country to country and culture to culture. The difference between California and New York responses, for example. It's really fascinating.
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Praise is nothing that accumulates. Praise is a sequence, especially if you've toiled for a long time. Praise does not pile up. So in a way, you can't get too much. I don't consider it to be a quantity that you can measure by volume.
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Becoming an actor is like becoming a father. It's not hard to become one. Making a life of it is the challenge.
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Look at ISIS - without the Internet, they wouldn't exist in the same form. The Internet didn't create them, but the Internet facilitates them. And as we know from history, the facilitation is more dangerous than the cause, because the cause can be dealt with, but the facilitation is elusive.
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I'm trying to be very aware of not repeating myself.
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Cary Grant is really the master of not taking himself so seriously.
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Everything that happens later in life is appreciated in a different way. You can appreciate the thing for what it is, which you couldn't if you were 25 and had never experienced much else. You would take it all for granted and think that's what life is like.
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My agent is the quickest, sharpest man on earth.
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It would be completely laughable if I claimed I was always motivated by the pure craft of acting and that recognition doesn't play a part. Of course it does - that's human nature.
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The bohemian artist who exists only for his art, it's a myth. OK, it might have been true for Giacometti, but it certainly wasn't for Picasso or Mozart.
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It bothers me that people who should know better believe a glossy magazine fantasy.
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Well, you need the villain. If you don't have a villain, the good guy can stay home.
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I have always been so interested in film as a medium.
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Sometimes I do stuff where people say, 'Why did you do that?' And you know, it's very simple. I do it because I've never done it before.
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The actor is there to translate what's on the page onto the stage or the screen. So I find it important that an actor manages to actually get out of the way, vanish as a person behind the character, never to be seen or talked about again. That's my philosophy.
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It's a wonderful narrative device to bring someone from the outside and look through his eyes if you want to describe the absurdity and preposterous reality that is accepted amongst the ones who are inside.
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You see, my version of why anyone would want to become an actor is that it's some psychological fixation, something that happened in puberty that you didn't outgrow in time, which is normal. Nevertheless, if you make it a profession, it can be really neurotic.
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I used to hate exposure situations. What is generally referred to as 'red carpet.'
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I take praise as not just a reward and a result but also as the beginning of a new process.