A Quote by Efrem Zimbalist, Jr.

I walked onstage in a play at prep school, and with childish naivete, told myself, 'Wow, I'm an actor!' — © Efrem Zimbalist, Jr.
I walked onstage in a play at prep school, and with childish naivete, told myself, 'Wow, I'm an actor!'
When I was 11, at prep school, I was starring in the school play, editing the school magazine and standing as Conservative candidate for the 1959 mock election.
I wouldn't be an actor if it weren't for the English teacher I had my junior year in high school. She's the one who told me I could be an actor. I had never met an actor, I had never seen a real play, only high school plays. I didn't know actors were real, that it was a real job.
In high school, AAU, even prep school, I didn't really know how to play basketball. It was kind of like, 'Let's throw the balls out, go get buckets, just score, and go play.'
I was three years old, and I walked onstage during a performance that my father was a tenor in 'The Barber of Seville.' I walked out onstage, and people started laughing and clapping, and that was it. That was all it took. Laughing and clapping, I still enjoy today.
I came from a prep school in New Jersey, so I get that when I got to FSU, some people weren't sure about me - I didn't play in Florida or Texas or at a powerhouse high school.
I wanted to be an actor because I wanted to be onstage. I wanted to do musical theater, and from that I realized I was interested in plays. I never imagined myself on television. I was so lucky to be onstage my whole life.
I started as a straight actor. I'd go onstage, and I'd think, 'Wow, this is the only thing I want to work really hard at. I will rehearse fifty times on a single scene; I don't care - I'll do it again.'
The fact is that in my prep school, I went to a boarding school, 39 young men graduated from that prep school. Five years later, a quarter of us were in SDS, in Students for Democratic Society. Not because we were particularly chosen or because we were as I say, we were lucky but we were mainly luckily to grow up at a time where this black freedom movement was really defining the moral character of what it meant to be a citizen and a person.
When I was about 12, I came home from middle school and told my parents I wanted to be an actor. My father didn't say it to me, but he told my mom, 'No. I'm not going to allow that. He'll starve to death.' I grew up in a small town in Illinois where being an actor was not something people did.
When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man I put away childish things because. wow, then I could afford much *better* childish things!
I never thought in terms of typing myself, because I wasn't that successful. After an actor has done a few pieces of work, his naïveté is the part of the craft he has to nurture most.
I mean, it's fine when you're a kid and someone runs into the playground and goes, 'I've got this great game of pretend,' and you play... As an actor, getting to play, getting to use your imagination and be childish - it is weird but it's wonderful.
You prep, you prep, you prep. And on the day that you film, you let all of that go. I try to achieve emptiness as much as possible - the Zen thing - to let the deal come out of that nothing.
I was a schooled musician. When I made 'Blue Velvet', I told everyone what to do. I was an arranger. I learned music in school I told the band to play this. I told the guitar to do that.
But, for the role of Sarah Linden, we saw everybody. Everybody wanted this role. Every female actor in town really wanted to play a real woman and be in this drama. It was incredible that all these women were coming in. And then, Mireille [Enos] walked in the door and she was reading the lines that I had written, and I saw her in that field. I was like, "Wow, she's the one."
Nudge: "I look like prep school Barbie. (looks at Max) Actually, you look like prep school Barbie. I'm just Barbie's friend.
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