A Quote by George C. Wolfe

You adjust what you do depending on the actor. You evolve a vocabulary and a way of language and talking with each actor. — © George C. Wolfe
You adjust what you do depending on the actor. You evolve a vocabulary and a way of language and talking with each actor.
Filmmakers tell actors to adjust their body language, and the famous presence of the actor is his or her body language. That is what makes them special and a movie star. An actor's capital is his body.
When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.
It's just a whole different vibe with improv. As an actor I just kind of exercise within my environment and adjust depending on where I'm at.
An actor is an actor. There should be no labelling - mainstream actor, art film actor, serious actor, comic actor.
'Eastbound & Down' is giving you a rhythm. It's just a whole different vibe with improv. As an actor I just kind of exercise within my environment and adjust depending on where I'm at.
It's no big deal about how you get language to evolve. You cause language to evolve by saying new and intelligent things to each other.
Each actor, every single time you work with an actor, you have to come up with the language that's going to serve them. And that's what allows them to give the performance that you want to nurture inside of them and what you think they're capable of giving.
It's important that the actor doesn't feel like they're working in a vacuum. If the actor is told, 'Oh, it's a secret; just play it this way or that way,' it's a bit patronising. I think you have to bring the actor into your thinking and explain things.
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.
I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.
It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.
What's with the whole 'child actor' and 'teen actor' thing? You're either an actor or actress, or you're not. I don't get it! I want to be taken seriously as an actor.
An actor is an actor is an actor. The less personality an actor has off stage the better. A blank canvas on which to draw the characters he plays.
I think if an actor is not able to pronounce their own dialogues, no matter what language, you are not an actor.
Im an actor, full stop. Not an Arab actor. Not an actor of Algerian origin. Just an actor.
Each actor requires a different language.
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