A Quote by Jacki Weaver
I guess just a lively imagination is the best effort an actor can have.
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The best thing as an actor, the best tool you have is your imagination. That you kind of take things that have happened, and then go and expand on them. However small it is, you use your imagination to create what that reality is. There's something kind of fun when you're not old enough to do anything, driving a car, getting into a bar, drinking, going to a party you don't belong to, something when you're young in that innocent way.
Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success upon the stage. And I am still of the same opinion. Imagination, industry [hard work], and intelligence-the three I's-are all indispensable to the actor, but of these three the greatest is, without any doubt, imagination.
Creativity is more than mere imagination. It is imagination inseparably coupled with both intent and effort.
People of a lively imagination are generally curious, and always so when a little in love.
I don't like to guess. Just react. Some guys are guess hitters. I just could never do it. If you guess and guess wrong, you have no shot of hitting anything else.
Everyone works hard when they want to, when they get quick results, when it's convenient to put forth effort. The best work hard when they don't want to, when it's inconvenient to give it that little extra effort... and that extra effort might be just what they need to place them on top.
... a lively imagination can exercise itself most fully and creatively in conjuring up magnificent combinations.
Whatever comes my way, I appreciate and do my best at, and if it were to fade someday, I guess I would find something else. But I just don't plan the future, I guess.
"Genius is just enduring patience," said Buffon. This is far from complete. Genius is impatience in ideas and patience with the facts: a lively imagination and a calm judgment, rather like a liquid boiling in a cup that remains cold.
I'm not ready to give up gayness in and of itself as something unique and different. A litmus test for me for all of it was the bisexual imagination and the androgynous imagination of the Glam era. Because that meant everybody was implicated in this uncertain sense of sexual self, and it meant that everything was unstable. I guess I'm just not that interested in stable notions of identity, whatever they are.
I guess I'm not really involving my imagination to that of a circumstance or happening - I'm just kind of acknowledging it as an existence.
Just take one thing out and the whole palace, the whole edifice of the human mind collapses. Take effort out of it and desiring disappears, imagination disappears, past and future disappear, or take desire out and effort disappears and time disappears and ego disappears. Just take one thing out of the gestalt and the whole gestalt simply disappears; it cannot exist without certain things. Those are the very essentials of it - effort is one of the essentials. Hence all the great Masters of the world have taught about grace.
I do go back to Ireland, and I'll probably be doing a film in Ireland in January, and I guess that kind of keeps me classified as 'the Irish actor,' but the last four or five projects that I've been in are either American or English, so I don't feel terribly trapped in that. But sometimes, yeah, you would like to not be called 'the Irish actor.' You'd prefer to just be called 'the actor.'
I guess I'm an actor - just human behaviour's just fascinating to me. I mean, I'd like to be.
Belief is nothing but a more vivid, lively, forcible, firm, steady conception of an object, than what the imagination alone is ever able to attain.
Being an actor means asking people to look at you. I guess I accept that. But it's a profession in which the job is to show another world and other people. You may access it through bits of yourself, and your imagination and experience, but actually, in the end, you're not playing yourself.
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