Top 105 Quotes & Sayings by Michael Sheen - Page 2

My own daughter is a big fan of the 'Twilight' stories, the books.

Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.

You know, we're each the hero of our own story and we perceive what's going on around us, and especially in a relationship, from the kind of viewpoint of, 'Well, this is my story, and I'm the hero of that, and I justify what I do around it.'

I've always loved animation and animated films.

When you look at all the miracles attributed to Jesus, they're all about change.

I have a daughter, and fairies meant a lot to her growing up.

I think parenthood is a wonderful balancing act. On the one hand, you want to spend as much time with your children as possible. On the other hand, you want to set an example for them to see that you're fulfilled in your life and in your work.

When I'm in America, I like to be near the sea, listen to music, watch films, read and write.

I think a good story's a good story and a good character's a good character.

Americans are much more open than people in Britain.

While I enjoy spending time in L.A., Britain is my home.

For me, what makes life enjoyable is having a shared culture and shared references.

I'm a big fan of vampire movies generally and that sort of tradition of characters.

I think the story of 'Alice in Wonderland' in a way is a reminder that life is frightening, it can shift on you at any moment.

As a general thing, I've always been drawn to characters who appear to be one thing on the surface, but are actually something else underneath.

I think being a parent is the most challenging thing you do. That's why we're here. It's at the heart of what it is to be a human being. It's the ultimate experience because it questions everything about who you are. But it's difficult.

I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.

When I was at drama school, I wanted to change the world, and thought I had some great wisdom to impart to people about humanity. Now that I'm older, I know enough to realise that I know nothing at all.

The first job I ever did in the theatre, I was supposed to be a genius piano player. I couldn't play the piano, but you just sit there at a piano like you're playing, and suddenly all this amazing music comes out and the audience believes you can do it. It's the same with computers. I love scenes where there are people yanking at monitors, "yes I'll put you through now," and you know they're just doing that. But you can look brilliant at all this technology. I love it.

The more you think that you are watching a show about sex, the more you ultimately are watching a show about the challenges of just connecting with human beings and being intimate.

No matter how difficult things are, and no matter how much grief and loss there is, you can turn it into something positive.

Change the scheme! Alter the mood! Electrify the boys and girls, if you'd be so kind.

So, if they're coming in and having to do scenes that involve nudity or sexuality, in some way, the utmost important thing is that everyone feels comfortable and safe. If there's any gray area, that's going to be a problem.

But obviously, things have changed in many ways since the '50s, when the show is started, in terms of sexuality, and how much access we have to images of it and information about it. But, the same problems always apply. It doesn't matter whether we know a lot more about sex now or if there's a lot more access to it. The same problems of intimacy, of dealing with other people, of connecting and being vulnerable with other people, which is what the show is ultimately about, still applies now, I think.

When you come to actually act, it's a game. It may be a very serious game, but it's still a game. If you lose that sense of play, the work suffers.

We live in a bubble of the fantasy of death, but the reality of it is something that we obviously all face and have to deal with, at some point.

In terms of how prudish Americans were in the '40s and '50s, I have absolutely no idea. I do know about the character that I play. And I don't think it's about being prudish. I think it's about trying to balance a sense of control in this man's life.

Hopefully, any character I play has an anchor in reality. The more fantastical characters, or fantastical worlds that they inhabit are really fun and allow you, in some ways, to tell stories and reveal things about our lives that would be harder to take, in a more realistic setting.

Well, I think tone is very important with this show [Masters of Sex] because there are certain elements or certain aspects to the show that may be reminiscent of other shows. But, it really is a very new kind of show, in terms of the subject matter and the way it's being dealt with, and the fact that it's about real people and real events.

When you're working on something where there's usually one sex scene in the film, it all gets a little bit of a gray area and people get a bit uncomfortable and awkward. You just get through it. But, it became very clear on this that that can't happen. There can't be any gray areas on this because there are actors and actresses coming in for a day or a couple of days, as well as people who are there regularly.

We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.

With vampires, there is such a great tradition that you suddenly find yourself a part of. Each generation reinvents what that means to them.

What's enjoyable for me, as an actor, is to do as many different things as possible.

My experience of working on this show, even though there is so much about sex and sexuality, and we find out a lot of facts and statistics that are very interesting, in their own right, I found that I started talking about relationships more, and the emotions, the difficulties and the challenges. So, I became far more open about that, which I think is probably an indication with the show itself.

And so, in terms of setting the right tone and finding a way of presenting all of these things, that creates a cohesive whole and doesn't alienate the audience, is tough. That's a challenge. And I think the tone of a lot of shows is discovered through experimentation and actually making it. Eventually, it starts to cohere.

I love being able to play as many different characters, in as many different worlds as I possibly can. That's what I really enjoy.

I find increasingly that the more extreme are the things going on in your life, the more cultural reference points fail you. More mythical reference points actually help, and you realize that's what myths are for. It's for human beings to process their experience in extremis.

You don't want to get into doing the same thing, over and over again. I know I don't.

It has to be absolutely believable. It's also going between images and scenes with nudity and sexuality that would be seen, in conventional terms, as kind of sexually exciting. It's up against things that are much more medical and gynecological, and notoriously we, as a culture and a society, have some issues with that kind of thing.

It's interesting that in searching for monsters to play you often end up playing leaders.

In the case of two actors connecting with each other and trusting each other, our bodies have memories without us having to consciously think about it, so rather than think, "Oh, I must think about my daughter dying," you just let that go and trust that you have all the emotions you need in there, and by losing yourself in the scene, that stuff kicks in without having to spend the day thinking about horrific things happening to your own child.

I remember someone said to me, "Never stand up when you can sit down, never sit down when you can lie down, never lie down when you can be asleep." Those are bits of advice that I haven't taken, really. I've done the opposite of them, but they have stayed with me.

Having said that, what I think we found, in doing the show, and in life, generally, is that the more you try to separate sex from everything else, it's impossible. You can't. The act of observation affects the actual experiment, and we see that in this.

It's funny the more technological advanced everything gets, the more like acting in your bedroom when you're a kid it is.

Nothing can be left until the last minute, so that everyone knows exactly where they are. Everyone is comfortable and everyone feels safe because we want people to be able to keep coming into this show and taking those risks. There are a lot of risks in this show, not just nudity, but emotional risks. We want the best actors to feel comfortable about coming in and exploring this subject matter with us.