A Quote by Ivor Novello

The public must suffer untold pangs from the stiffness, the deliberate stifling of emotion, on the part of many British actors. — © Ivor Novello
The public must suffer untold pangs from the stiffness, the deliberate stifling of emotion, on the part of many British actors.
The actors in Britain are incredible, and I didn't appreciate that until I got there. They interpret your words and you realize how deliberate and thoughtful they are. There are great American actors, too, don't get me wrong, but the technique that British actors have is something really special.
Whenever we find stiffness in the body, our mind should be especially supple. It is never the stiffness in our bodies that limits our practice, it is always the stiffness of our mind.
I was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.
As I suffer in the defence of my Country, I must consider this hour as the most glorious of my life -Remember that I die as becomes a British Officer, while the manner of my death must reflect disgrace on your Commander.
It seems appropriate that the author of '1984' was a British citizen. George Orwell must have seen how easily the great British public's lamb-like disposition toward its leaders could be exploited to create a police state.
Actors who are lovers in real life are often incapable if playing the part of lovers to an audience. It is equally true that sympathy between actors who are not lovers may create a temporary emotion that is perfectly sincere.
To love is to suffer. To avoid suffering one must not love. But then one suffers from not loving. Therefore, to love is to suffer; not to love is to suffer; to suffer is to suffer. To be happy is to love. To be happy, then, is to suffer, but suffering makes one unhappy. Therefore, to be happy one must love or love to suffer or suffer from too much happiness.
Coming from documentaries, my biggest challenge was to understand actors' psychologies. American actors take it all very seriously; British actors don't enter into all this methody way of doing things.
I have to say as an actor I have been inspired by so many British actors throughout the years.
What the British seem to like are television historians and naturalists, not public intellectuals. You can't help feeling that's because one supplies narrative and the other supplies facts, and the British are traditionally empiricists so they/we have a resistance to theory and to theoreticians playing too prominent a role in public life.
I must say, I wouldn't turn down a superhero role, although there do seem to be a lot of British actors out there doing that.
The emotion, and the other aspect is that this relate to many different obstacle in life. Emotion, yes, I love emotion, for your information, very much so.
The sweetness and delights of the resting-place are in proportion to the pain endured on the Journey. Only when you suffer the pangs and tribulations of exile will you truly enjoy your homecoming.
I've wrecked and ravaged half my life in the pursuit of women, and I suffer the pangs of about seventeen regrets -- the seventeen who got away.
An emotion is only an emotion. It's just a small part of your whole being. You are much more than your emotion. An emotion comes, stays for a while, and goes away, just like a storm. If you're aware of that, you won't be afraid of your emotions.
The British have their own conception of what constitutes the typical American. He must have a flavor of the Wild West about him. He must do spectacular things. He must not be punctilious about dignity, decorum and other refinements characteristic of the real British gentleman. The Yankee pictured by the Briton must be a bustler. If he is occasionally flagrantly indiscreet in speech and action, then he is so much more surely stamped the genuine article. The most typical American the British ever set their eyes on was, in their judgment, Theodore Roosevelt.
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