Harrison Ford Quotes
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I just like the process of taking something written on a sheet of paper and giving it life and shape. I like the collaborative process of filmmaking, which is all simply to say that I love my work and I would continue to look for things that have the potential to be engaging and successful.
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On being an actor ....nothing more than a worker in a service occupation . It's like being a waiter or a gas station attendant, but I'm waiting on 6 million people in a week if I'm lucky.
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What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.
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I realized early on that success was tied to not giving up.
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I saw what luck and success I had as an opportunity to twist it up and do something different, so I've always sought out different genres and different kinds of characters.
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I'm ambitious for is to not get caught 'acting'. I want to really feel the role and not let people see the process, or to let them stand back and admire it, because I think that does finally get in the way.
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I had no idea what I wanted to do with my life, so nothing of what I was studying seemed to fit. I know now that I should have taken advantage of that time and that I missed a great deal of the opportunity to educate myself.
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The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
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I'm still interested in perfecting whatever talents I have and continuing to grow as an actor and continuing to be useful to the telling of the story.
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I knew that there was an aspect to this story that was beyond the typical and that it was something very important about America, about our culture, and about bringing a story to a new generation that perhaps didn't know the details of it, and hadn't had the visceral experience that this film is 42.
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Acting was a way out at first. A way out of not knowing what to do, a way of focusing ambitions. And the ambition wasn't for fame. The ambition was to do an interesting job.
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It's not the years honey, it's the mileage.
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There's no independent satisfaction without the success of the film itself. The feel that you have done the best you can to support the film.
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When we were making it Star Wars, none of the effects were in. So the first time, I thought it was, you know, that - I mean, we were surrounded by English crew members that could hardly keep themselves together. They were, "Here comes the guy in the dog suit." They made fun of us, which was OK. But the first time I was sitting in a theater, and I saw all the effects in, and the big ship flew over the audience, and the sound rumbled, I pretty much thought we were close to home.
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American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
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Acting is not about competing. Acting is about cooperating. Acting is about collaboration. It's about your utility, your usefulness, your capacity to add to the work that has already been done and will be done. You're just part of a team. I never feel competitive about acting.
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When I met scientists, I found them to be as various as any other group of people.
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I never feel sexy. I have a distant relationship with the mirror.
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You know how a woman gets a man excited? She shows up.
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There comes a point when you've exhausted your opportunities playing good guys. I've been around long enough, I think I'm entitled to explore a bit. But what I saw there was an opportunity to play a character different from what the audience's expectation was. A chance to take their crude experience of me - of my iconography, if you will - and turn it on its ear at an appropriate juncture in the film to be useful to the process of telling the story.
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I haven't purposefully set out to play heroes. I'm interested in playing the character who finds himself in extraordinary circumstances. But he's really either just saving himself or acting in the service of something that's important to him.
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I think parenting is a huge responsibility. It was in my time when I was growing up and there still continues to be that responsibility.
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I try to preserve a certain amount of time away from the movies, so I don't allow time to do those smaller parts that might give me an opportunity to do more seemingly 'artful' things. Although, having said that, I don't feel any lack of noble purpose if I do a film that's commercial.
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I don't take trouble at all to conform a screenplay to my iconography. I don't say, "We can't do that - the audience wouldn't accept it." I try to take the limitations of what is required to play a leading character and then screw with them.