A Quote by Michael Richards

I'm trained as an actor for the stage - classically trained, believe it or not - and I worked closely with Stella Adler for years. People don't know that much about it. They just think I am these people. But I've been in this comedy racket, because it's just how everybody wants to see me.
I'm an actor. I was trained by Stella Adler, one of the greatest teachers of the world. I was 19 years old, and she frightened me to death. I was her houseboy for a while.
When I was young I trained a lot. I trained my mind, I trained my eyes, trained my thinking, how to help people. And it trained me how to deal with pressure.
I'm formally trained, I don't know what classically trained really means. I've worked with Sanford Meisner. And I've worked at Circle Rep with Marshall W. Mason and Lanford Wilson and some really good people. I was lucky. I had a lot of really good influences.
I wasn't classically trained as an actor; I wasn't pursuing standup comedy. I really came into it through the back door. And there was a benefit to that, I think, because I wasn't pressing; I wasn't pushing.
Comedians have varying levels of training. It can range from classically trained actors (like Robin Williams) to people who took comedy classes to folks who just started doing it. That's the beauty of comedy: it's close to a pure meritocracy.
I was trained by Stella Adler for theater so you kind of give it all on every take.
As someone who's never been musically trained, I am sort of used to being in a position where I have to kind of do things on the fly because I wasn't trained as an actor, either, and I've very much learned on the job.
I can feel how an audience is reacting when I'm on a stage, but when you are on stage, your perception is distorted. That's something you just have to know. It's like pilots that fly at high Gs and they lose, sometimes, consciousness and hand/eye coordination and they just have to know that that's going to happen. They have to be trained to not try to do too much while they are doing that. So when you are on stage, you have to be aware that you are wrong about how it feels a lot of times.
I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.
I don't feel comfortable doing movies. It's not what I trained to do. I trained to be a theater actress. You put me on a stage in front of 2,000 people, I know what to do.
It's funny, because I was trained as a dramatic actor at New York's Colonnades Theater Lab in the '70s, along with Jeff Goldblum, Danny DeVito and Rhea Perlman. People I worked with there saw a comedian in me. I'm still most at home in comedy.
People have been trained to believe that comedy is the five- and 10-minute segments that you see on TV. But in 10 minutes, you can't really talk about yourself.
I am not a trained actor and am not near the top of anyone's want list. I go after what I am offered, if I am so inclined. Now and then, I get offers for things that are not to my liking, in that I just don't care about the story. All this super tough guy stuff isn't anything that interests me all that much. I can't think of anything I turned down that I regret.
With dancing, I think the reason it's worked for me, and I love it so much, is because I've trained my entire life. Once you train, you develop your own aesthetic and your confidence. So I think, as I grow, I'm learning how to be a singer. I'm training my voice and being on stage and singing and dancing.
I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.
I didn't go into this business to do action because I'm a classically trained actor. But I'm good at kicking and punching.
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