A Quote by Phil Silvers

Like with Berle, he was always trying to steal the scene, get a little extra. — © Phil Silvers
Like with Berle, he was always trying to steal the scene, get a little extra.
I visualize songs like a little movie scene and I try to almost talk through the scene. What emotions am I trying to get across?
Every single second of extra time to work with other actors has definitely always, for me, paid off for the film. For the project. Every single extra heartbeat you could get, mutually considering the scene, was of benefit.
If you steal, do not steal too much at a time. You may be arrested. Steal cleverly, little by little.
When I first started training to be a wrestler I was also trying my hand at acting. I was trying to get into the Chicago theater scene. It was tougher to get into the theater scene than I thought and I almost gave wrestling a try as an afterthought.
I always want another actor to shine in my scene because it makes the film stronger. I would encourage people to scene steal, because filmmaking is a collaborative effort.
Organizations are trying to save extra money. Players are trying to get extra money. That's the way it is.
The difference between ordinary and extra-ordinary is so often just simply that little word - extra. And for me, I had always grown up with the belief that if someone succeeds it is because they are brilliant or talented or just better than me... and the more of these words I heard the smaller I always felt! But the truth is often very different... and for me to learn that ordinary me can achieve something extra-ordinary by giving that little bit extra, when everyone else gives up, meant the world to me and I really clung to it.
I come from a theater background, so I always like to dissect the scene and try to get some hint about what the author was trying to get at. I still look up the meaning of the name of the character to see if there are any clues in that.
If you want to steal, steal a little in a nice way. But if you steal too much to become rich overnight, you'll be caught.
If you want to steal, steal a little cleverly, in a nice way. Only if you steal so much as to become rich overnight, you will be caught.
Almost everyone does just enough to get by. Those who achieve spectacular success also do enough to get by; then they add a little bit of extra effort. That little bit of extra effort makes an enormous difference.
I feel a lot of cities are like, you go and you are trying to do your art, and there are so many other artists there who are so brilliant. And it's kind of like they stomp on the scene, and they are like, "You're not already Picasso? Get the hell out of here!" And Memphis is like, "Well, you'll get there one day!"
Actors will, in their mind, want to 'steal the scene,' and the problem is that means the scene didn't work in the first place.
When someone new comes on and has their first nude scene - and even if it's not full nudity - it's always a weird, awkward setup. We have these famous merkins which are sort of toupees for your delicate areas to make it look like you're naked but cover you up a little bit. But we joke around a little bit with the newbies who are trying that stuff on for the first time.
When I'm creating a character, it's a little bit like what my theater teachers used to tell me about Stanislavsky, like if you're using sense memory to do a scene - if you have to cry in a scene, you try to remember something in your life that made you cry and you use that in order to get the tears.
I was a little troublemaker. Always trying to get in trouble, always mischief, like throwing rocks at cars when I was younger, all that kind of stuff.
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