A Quote by Janet McTeer

When you're an actor, you get your ideas from everywhere - even from someone on the street. We're total thieves! — © Janet McTeer
When you're an actor, you get your ideas from everywhere - even from someone on the street. We're total thieves!
I am interested in the shape of ideas even if I do not believe in them. There is a wonderful sentence in Augustine . . . "Do not despair: one of the thieves was saved; do not presume: one of the thieves was damned." That sentence had a wonderful shape. It is the shape that matters.
An actor can never voice his opinion through films. All an actor does is convey what the director and writer want to say. You are a mouthpiece of their ideas. Your ideas reflect only in your choice of movies.
I’d rather have the thieves than the neighbors - the thieves don't impose. Thieves just want your things, neighbors want your time.
I think a lot of hedge funds get their trades from Wall Street and get their ideas from Wall Street. And I just like to find my own ideas. I'm reading a lot; I read a lot of news. I'm addicted to it. I basically - I follow my nose on news stories.
Your street, rich street or poor Used to always be sure, on your street There's a place in your heart you know from the start Can't be complete outside of the street Keep moving on through the joy and the pain Sometimes you got to look back To the street again Would you prefer all those castles in Spain? Or the view of your street from your window pane?
It's unnatural for people to run around the city streets unless they are thieves or victims. It makes people nervous to see someone running. I know that when I see someone running on my street, my instincts tell me to let the dog go after him.
When you're a writer, the question people always ask you is, "Where do you get your ideas?" Writers hate this question. It's like asking Humphrey Bogart in The African Queen, "Where do you get your leeches?" You don't get ideas. Ideas get you.
The more alone I am, the more focused I can get. I've written things with people, some of which I liked and others I think are total travesties. Collaborating is trying to make a piece of music and get someone else to come up with the ideas. What's the fun of that?
Even now, sometimes on street corners... when I meet someone, I see your shadow. I'm sure that even now, you're still wearing that man's cologne... so you can sleep, even alone.
Most of your life as an actor in Hollywood, either an actress or an actor, you have to look - you have to work out, you have to look - you rarely get to play someone who's just human, who's real, who is overweight, even not grossly overweight, but who has aspects of just everyday life.
People who leave their cars on the street with tape covering their broken windows are obviously too trusting. I mean, when your car did have glass for a window, someone broke into it. How is tape any more of a deterrent? What are the thieves going to say? Ooh, that like looks like duct tape, we can't beat that. Let's look for one with scotch or masking.
There's no such thing as good ideas and bad ideas. There are only your own ideas and other people's. If you want someone to like your idea, tell him he said it first last week and you just remembered it.
Streetfighting is just get out there and bang. It's whatever in a street fight. This is different. You have to be real smart in your decisions at this professional level of the game. In a street fight, it doesn't even matter.
You have total control of it, and when you're an actor, you're subject to production design and costumes and directors and studio choices and producer choices, but when you're writing it, you're creating your own little world in your head, peopled with your little characters. No one is in there monkeying with it, at least not at first - though they will. With this and the other projects I'm working on, it'll have to be given away, and it'll have to be someone else's property.
One of my jobs as an actor, regardless of who I play - even if I'm playing a despicable character - is to make people think that that character could exist, that he's real, and the way to do that is to make him believable. He doesn't have to be likable or charming, but he just has to be believable. That is someone who I could see on a bus. That is someone who I could walk past in the street.
I think the money for the solutions for global poverty is on Wall Street. Wall Street allocates capital. And we need to get capital to the ideas that are successful, whether it's microfinance, whether it's through financial literacy programs, Wall Street can be the engine that makes capital get to the people who need it.
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