A Quote by James Nesbitt

I'm an actor, learning lines and saying them in the right order. — © James Nesbitt
I'm an actor, learning lines and saying them in the right order.
Actors need to know why they're saying what they're saying, more than just learning their lines.
Creativity means learning where the rules exist, and then breaking them! Saying, "It's better this way." But you have to know the rules in order to break them with any grace.
I'm pretty focused on my career, and if it comes down to hanging out with somebody or learning my lines, it's gonna be learning my lines.
One of my biggest fears as a director is that everything is taking too long on camera. The actor saying their lines, the silence between lines, the length of time it takes to walk from A to B. So you try it at different speeds and then see what sticks in the edit room.
So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
I'm terrible at learning lines. I'm good at learning lines when I don't have to be word-perfect.
There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.
Improv acting is not just saying the lines but connecting with the other actor.
People always ask about learning all of your lines as an actor, and it's generally the easiest part of the job.
All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.
I started to view theatre like a spiritual experience. You're on stage saying somebody else's lines, but you're saying them with full commitment of being that person.
I'm just always learning lines. I've learned to flag the really crucial scenes, and I start figuring them out and committing them to memory as soon as I get them.
If people need to be informed by lines, then there's no reason why the actor is saying the line except for information for the audience; I think there's something wrong.
None of us believes in an untrammelled right to free speech. We all agree there are always going to be lines that, for the purposes of law and order, cannot be crossed; or for the purposes of taste and decency, should not be crossed. We differ only on where those lines should be drawn.
I love live theater. I get my rocks off by doing stand-up, and I am the only actor. But to show up eight times a week and not have that time for myself; to do someone else's lines? When I work for Wendy Wasserstein or Terrence McNally, Neil Simon or even Shakespeare, I do not have the right to change the lines.
This site uses cookies to ensure you get the best experience. More info...
Got it!