A Quote by Elizabeth Goudge

Writers and painters have a medium that can foster self-effacements. Actors haven't. An actor can't hide himself behind paper or canvas. If you're not there your art's not there. That's why we actors are often such self-centered objects.
Actors are inherently self-centered.
There are professional negotiators working for the writers and the actors, but basically you've got the writers and actors negotiating against businessmen. That's why you get rhetoric.
I think that actors are terrible communicators as people by and large. I think our tendency is to kind of be self-centered and tune people out and just kind of get really me-focused, so I think communication for actors is a big challenge actually.
When you do music, your friends are writers, actors, painters. It's all under the sameroof. So anything creative is interesting to me.
When you do music, your friends are writers, actors, painters. It's all under the same roof. So anything creative is interesting to me.
Ill-informed intuition is fantastic - it's what great art is. So really old painters or writers or actors are brilliant, because they've finally reached the point when they can let go of al technique.
Actors should be writers. While a writer puts the story on paper, an actor puts it on screen.
The libertarian view is that human actors are self-owners and these self-owners are capable of appropriating unowned scarce resources by Lockean homesteading ? some type of first use or embordering activity. Obviously, an actor must already own his body if he is to be a homesteader; self-ownership is not acquired by homesteading but rather is presupposed in any act or defense of homesteading.
Chicago actors are hard-nosed. They're tough on themselves and their fellow actors. They're self-demanding.
When you write comic books and when you are writing for television, you're not writing the end product, you are writing notes for someone else to make the end product essentially. My scripts are just directions for the artist to draw pages and the pages are what is seen. I kind of feel like it's a safety net, you're able to hide behind the art to a certain extent, and in television you're able to hide behind the actors and the production, but with novels, your words are it
I don't believe that directors need to essentially manipulate actors into doing things. You can suffer for your art, and you can make your own self suffer for your art. You don't need anyone else to do it for you. I work best when there's a safety trampoline of kindness.
Self esteem is not the same as being self centered, self absorbed or selfish. Self esteem is also not complacency or overconfidence, both of which and set us up for failure. Self esteem is a strong motivator to work hard. Self esteem is related to mental health and happiness.
Theatre is an actor's medium. An actor has little control over a film. Which is why most actors who have done theatre, and then come to films find the former more creatively satisfying.
Our everyday self is a narrow construct...Our total self is far broader, ultimately infinite. Actors who seem to be playing themselves are actually playing roles they have become so skillful at that they seem pure and natural...Much bad Acting is the result of being too close to the Actor's everyday self, confining him in its rigid mold.
You can't be a great comedian without having self-awareness about others or your own faults. You need a strong sense of self and view on the world. That's what great actors have, too.
I don't slot actors into the image of a character that's already built. I build characters by listening to the voice and the story inside the heart of each actor. Art and life are linked, and expressed through my actors.
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