A Quote by David Mamet

The audience perceives only what the actor wants to do to the other actor. — © David Mamet
The audience perceives only what the actor wants to do to the other actor.
I think actors are divided into two groups: one that wants to be an actor to become famous and rich, and the other that wants to be an actor because they have to be. I'm more in the second group.
I always thought the leading actor should be the best supporting actor, because you're the only person that can help every other actor on the set.
An actor is an actor. There should be no labelling - mainstream actor, art film actor, serious actor, comic actor.
Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor
The audience basically likes complex characters, and bringing out the complexities is the actor's job. The audience doesn't have the script, the actor does.
If the audience knows what's behind the door and the actor does not, that's comedy. If both the audience and the actor do not know, that's mystery!
My belief is that if I can achieve that level of entertainment by making the audience happy or sad or angry, then I have succeeded as an actor and have done my job. The profits and the fame as an actor will eventually surface, but first and foremost comes the work as an actor.
Every actor has a different temperament. Part of my job is to know what those boundaries are. The actor has to know you'll be there at the other end, that you're trying to represent them in the best light, who they are as they're harnessing these roles. The methods vary from actor to actor.
If a musician wants to be an actor, everyone thinks that's pretty cool. But if an actor wants to play a song, even if they've been doing it for 40 years, that's bad news.
I never think of an actor as a model. A model wears what you tell them to wear, that's their job. An actor is different. It's important to work with the actor because in the end that's who the audience sees and that's the success that you need.
The audience has changed. People want something different, they want variety. As an actor, we also seek variations in characters. That's the only way an actor matures.
When an actor gets a role, especially in series television where he really is the part, the audience never thinks of another actor playing that role. If they accept you in the role, then they can't separate the actor from the character.
I remember when I worked with Fassbinder in Germany, actors wrote letters to him. But you see, a director wants to discover you himself. He doesn't want the actor to say, 'oh, I'd love to work with you' - the actor says that to other people, too.
The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.
An actor is here to perform. For example, if a character is a Punjabi or a Bihari, and the actor is not, doesn't mean we have to cast an actor from that region. If an actor can perform, they can portray anyone because an actor is here to try different roles.
Well, an actor is an actor is actor, to paraphrase someone or other and the opportunity to work, to have a steady engagement, certainly seemed like an appealing concept to me.
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