Actors Quotes
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I always call myself a stuntman first and then an actor.
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When I was in New York, I was making a living. We had a summer house and a car that I could put in a garage. That's something for a stage actor.
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There are a lot of things that dancers can do that actors cannot and actors can do that dancers cannot.
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All actors are naughty. We're all troublemakers - horrible, attention-seeking children. 'Me, me, look at me!'
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I always give one actor an emotion to make it very easy so he or she can root to it.
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How often do we use other people as screens upon which to project our obsessions? Our discontents, dreams, desires, and fears? Well, I always thought, often enough that its a wonder the whole waking world isn't simply viewed as an endless improvised film. One with as many screenwriters, producers, and directors as there are actors.
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I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.
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There's no set designer like your own self; you furnish the mise-en-scène, the wardrobe, the physical proportions of the actor, and the setting. Then radio is doing something that television very rarely achieves.
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That mental grind is the same, and this show has to be approached with the same mentality. Rest is paramount. Taking care of my voice and making sure I have the right foods in my body is paramount. Making sure I'm doing my technique work and staying in the script is all substantial. Continually pushing myself to find different nuances in the character on a nightly basis. This is definitely boot camp for me all over again, and Broadway in general is a boot camp for all actors.
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When I shoot actors, I have that dilemma. I want the actor to be good, and sometimes I have to push them to a place that isn't pleasant. I always think: 'Is it worth doing for the sake of the movie?' But I have to remember the bigger picture.
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You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.
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Films were never in my budget. Didn't occur to me till much later. I hoped for a long, good life, which I've had and I'm having as an actor. I didn't expect the rest.
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My mother was an actress. My father was an actor and a director. I am the son of filmmakers.
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Anyone who has been given the gift of being opposite an actor who gives and gives, it just makes you better.
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Theater actors like to change character roles. They don't like to always do the same thing.
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I traveled and worked with amazing actors, like Andy Garcia, Alec Baldwin, Brendan Fraser, Forest Whitaker, Lee Pace. It was this great learning experience. And then, I started watching a lot of television. I was always in these foreign countries and I would get TV shows on DVD, and I started to realize that all of the amazing roles for women were on television. I was spoiled by Buffy because I thought that was the way it was everywhere, and it's not.
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I credit my mom Debbie for creating a solid family base, ... She gave me a strong sense of reality so I could avoid falling into the normal pitfalls of child actors.
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Every actor has their stalker.
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Movie acting is about covering the machinery. Stage acting is about exposing the machinery. In cinema, you should think the actor is playing himself, if he's that good. It looks very easy. It should. But it's not, I assure you.
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I try to always be open to what the actors want to try. I don't storyboard and try to be intuitive and open on the day of filming.
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I'm never in Hollywood! I'm a theatre actor that lives in New York. I'm very seldom in Los Angeles. I don't dislike LA, I just don't think it's a very healthy place for me to be all the time. When I'm shooting a movie there and am working I'm perfectly happy. But when I'm not working or engaged in something it's a place that I wouldn't live.
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What I'm trying to do is make the camera-work lyrical rather than fragmentary. It's a dance between the camera and the actors.
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Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.
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I'm not the writer who says, "You have to say it exactly as I wrote it," because you don't get good work. You want somebody who's going to bring something interesting to it and really create a character with you. You see that with certain actors.
