Actors Quotes
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I did everything pretty cliche as an actor in New York. I read the trades, I sent out 'head shots.'
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I don't want to take shots at professional actors, because obviously the great ones are great. But I do think that given the kind of stories I've been telling in my films, it's hard for me to imagine how professional actors would have done better. And it's easy for me to imagine how they would have done worse. Because I think a lot of what an actor is trained to do and a lot of what an actor's instincts point toward is clarification, is always making it clear what's happening in the story, how the character fits into the scene, what the character wants.
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Becoming an actor? If it's not a calling, don't do it. It's too hard.
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When I hire actors I believe in their abilities.
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You get better as an actor over time if you're growing. Like singers.
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When actors give their input, it can be very ego-driven, and directors are scared of that.
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Working out and working as an actor have gone hand in hand—I always feel more prepared if I know I have done a workout. It gives me confidence—and peace of mind.
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I have great admiration for athletes. They are just like actors in a lot of ways. They have tremendous pressures and conflicts. They have to compete, and they can't stay home just because they have a head cold.
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If I work with a bad actor, my reaction is to immediately become worse than they are.
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I never hoped that both my children would become actors. I expected them to do something else.
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As soon as you put an actor to a person who is real, that person comes to life through another person.
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I don't know of an actor that the Coen brothers would come to and say, "Hey, I've got a movie for you to be in, if you want to do it," that would say, "No." That's the truth.
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I went to Queen's University Belfast and stayed nine months, then I ran away to be an actor.
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The former ruling class kept the community of actors in ignorance by means of various lies.
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All the time, as an actor, you want to be asking what's next and where things are going. If you're not asking those questions, you're not growing.
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As a young actor, I worked with Kevin McNally and have always thought him brilliant.
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Michael Bates was a very funny actor; he'd served in India, could speak Urdu, and had great comic timing.
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It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.
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I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.
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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 know actors with promising careers who get blown out of the business, never to return.
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All you have to do to be a camera actor is tell the truth.
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All that back-story stuff doesn't help. What you get paid for is to stand toe-to-toe with the other actor and get him to do your will.
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My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
