A Quote by Angelina Jolie

Something I learned as an actor was which scenes needed to be rehearsed and which actors are good with rehearsal, which actors learn from it, and which ones grow stale because they start to second-guess themselves.
An actor can grow stale in a bad part. Actors grow stale, generally, because there's no demand on them.
Brad Pitt is a dude who just wants to make good movies. He's not afraid to surround himself with the greatest actors, which I always appreciate because I've also seen actors who only want to surround themselves with weak actors because it makes them look better. That ends up making a poorer movie.
On movies, I like to involve the cast in the writing of the script. I like to have a rehearsal period, after which I do the last draft, which gives me a chance to incorporate anything the actors have come up with during the rehearsal period, so I'm very inclusive as a writer.
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.
'Friends' is easy to dismiss, but it's really good television - the art with which those actors play with comedy shouldn't be denigrated. And they also know how to play irony, which I think a lot of English actors might find quite difficult.
More than good co-actors, if you have understanding co-actors, it becomes easier to relate with them. Many actors become insecure and get personal, which is not right.
It is through you, actors, that the forces which are understood by millions and that tell of everything that is beautiful on earth, find expression. The forces which reveal to people the happiness of living in a widened consciousness and in the joy of creative work for the whole world. You, the actors of a theatre, which is one of the centres of human culture, will never be understood by the people if you are unable to reflect the spiritual needs of your time, the now in which you are living.
I love that process in which there is no safety net. Then the actor also can allow mistakes, because there's no such a thing as a mistake. You're working with good actors, that thing that starts as a mistake becomes actually the life of what is going to follow in the scene. I find that it is fantastic, and for me it is easier than for the actors.
I'm one of the actors who really enjoys working with kids and animals, which is always a no go. There's something beautiful about it because you tend to forget yourself as an actor.
I'm one of the actors who really enjoys working with kids and animals, which is always a no go. There's something beautiful about it because you tend to forget yourself, as an actor.
I don't rehearse with my actors... the first rehearsal is the first time we turn the camera on... Sydney Pollack never rehearsed his actors, and I found out that's allowed... so you film reactions; you don't create them.
Computer scientists have built a set of massive DNS databases, which provide fragmentary histories of communications flows, in part to create an archive of malware: a kind of catalog of the tricks bad actors have tried to pull, which often involve masquerading as legitimate actors.
Even personal tastes are learned, in the matrix of a culture or a subculture in which we grow up, by very much the same kind of process by which we learn our common values. Purely personal tastes, indeed, can only survive in a culture which tolerates them, that is, which has a common value that private tastes of certain kinds should be allowed.
By three methods we may learn wisdom: First, by reflection, which is noblest; Second, by imitation, which is easiest; and third by experience, which is the bitterest.
Actors are loved because they are unoriginal. Actors stick to their script. The unoriginal man is loved by the mediocrity because this kind of artistic expression is something to which the merest five-eighth can climb.
When we see the many grave-stones which have fallen in, which have been defaced by the footsteps of the congregation, which lie buried under the ruins of the churches, that have themselves crumbled together over them; we may fancy the life after death to be as a second life, into which man enters in the figure, or the picture or the inscription, and lives longer there than when he was really alive. But this figure also, this second existence, dies out too, sooner or later. Time will not allow himself to be cheated of his rights with the monuments of men or with themselves.
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