A Quote by Madonna Ciccone
Every actor wants to get their two cents in about a scene at the end of the day.
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How long can you bank on your body and your face to help you get roles in films? At the end of the day, anyone who wants to be known as an actor wants to be appreciated for his/her work.
Every scene has two people who want two different things, so there's conflict in every scene. You've got to duke it out, and you've got to get the other person to change his or her mind and do it your way.
I'm living every ten-year-old boy's fantasy. The other day, Chris and I had this big scene where we had to pull out our guns, and I was thinking, 'Here we are in New York City - a place where every actor wants to be - and we are literally playing cops and robbers. How great is that?'
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.
For an actor, it's very important to get a clear idea of what a director wants, and their intention for what they want to get out of a scene and how they want to shoot it. Having that knowledge is really valuable, for an actor. It means you can deliver more.
Fifty-nine cents. For years, I wore a button - '59 cents.' Many of my colleagues wore it also. The purpose was so that people would come up and ask, 'What does '59 cents' mean?' One could then launch into a discussion about how women working full time in the U.S. earn 59 cents for every dollar earned by men.
I often tell my students that you can't worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us.
We joke about it in the entertainment industry: Every actor wants to be a musician, and every musician wants to be an actor.
As the actor, you can't be worried about the scene that you're going to playing two days from now. You think about what's going on, right now and in the moment. That's what you worry about. Everything is right then and there. In the end, all of the pieces come together, thanks to the editing and James Gunn.
Maybe 23 cents doesn't sound like a lot to someone with a Swiss bank account, Cayman Island Investments and an IRA worth tens of millions of dollars. But Governor Romney, when we lose 23 cents every hour, every day, every paycheck, every job, over our entire lives, what we lose can't just be measured in dollars.
I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.
I think actors are divided into two groups: one that wants to be an actor to become famous and rich, and the other that wants to be an actor because they have to be. I'm more in the second group.
I work all day, morning and afternoon, just about every day. If I sit there like that for two or three years, at the end I have a book.
You always have to have a bit of fun if somebody is dead in a scene. That's a red rag to a bull for an actor. You do a little poking. You do things to annoy the actor. It's your job. You have to utilize the opportunity. You have to get through the day.
I don't work all day, every day on 'Rizzoli & Isles,' but I work every day. It may be a scene or two, or it may be an enormous workload, but there's really not a lot of room for anything else, and that's the choice I made. And that's why I stayed away from TV before: Because I know that that's what it is.
I never wanted to be an actor, and to this day I don't. I can't get a handle on it. An actor wants to become someone else. I am a song-and-dance man, and I enjoy being myself, which is all I can do.
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