A Quote by Sally Field

I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work. — © Sally Field
I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
I studied acting for 10 years before I went for an audition. I studied with Lee Strasberg and Actors Studio teachers, and went to the High School of Performing Arts.
There are still actors who use emotional memory, affective memory, which was Lee Strasberg's emphasis, not his total emphasis. She taught everything at the Actor's Studio. But nevertheless, she felt that it impeded her.
I was a student of Stella Adler and then later Lee Strasberg, and they were into sensory work. At its best, acting is not about words - even when the words are important.
I was always drawn toward the Actor's Studio. I studied at the Lee Strasberg Institute when I first came to New York. One of my favorite teachers was one of Al [Pachino]'s teachers, a guy named Charlie Laughton, who was just a wonderful, wonderful man.
I've been a teacher all my life. I've had my own dance studio, my own acting studio for 18 years out here... I'm just a natural teacher. I teach on all my healing work now. I think actors teach any time they work anyway. We're teaching emotions, we're teaching how to deal with emotions, we're teaching how to get around issues and deal with them. Actors are some of the best teachers in the world, because they're teaching you through entertainment, and you don't know you're getting a message.
For the actor, The Lee Strasberg Notes are an indispensable companion.
I was shy and really into my school work and my drama. Then I joined 'EastEnders' at 16, and it was work, work, work. You become very isolated. I rarely went out and so didn't get to meet anyone.
I trained at the Lee Strasberg Institute at Tisch, which is a huge foundation for young actors. They teach you their methods and give you the sense that acting is much more tangible than most people think. I think there's a mysticism of what acting is, in the fact that it's this ungraspable, spur-of-the-moment thing that nobody can understand.
I always think upon Lee Strasberg with warmth, and reviewing his wisdom is a pleasure.
I started teaching when I was in my 20s because Lee Strasberg asked me to, and he didn't do that with a lot of people.
I studied philosophy at Columbia, then dropped out to do drama at the Lee Strasberg Institute.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
Music is my work, writing songs is my work, touring is my work, going into the studio is my work.
All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.
My education was a huge influence. I trained at the Lee Strasberg Institute at Tisch, which is a huge foundation for young actors. They teach you their methods, and give you the sense that acting is much more tangible than most people think. I think there's a mysticism of what acting is, in the fact that it's this ungraspable, spur-of-the-moment thing that nobody can understand.
I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.
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