A Quote by Stella Adler

Actors need a kind of aggression, a kind of inner force. Don't be only one-sided, sweet, nice, good. Get rid of being average. Find the killer in you. — © Stella Adler
Actors need a kind of aggression, a kind of inner force. Don't be only one-sided, sweet, nice, good. Get rid of being average. Find the killer in you.
You can only really understand good if you have bad, so the idea of heaven or anything that happens for eternity, even if it's nice, I can't imagine it being nice forever. Even the idea of forever is kind of ridiculous, which is unfortunate because it's kind of a nice thing to say, you know.
I find that people can’t find you. It’s kind of quiet. When I go to a city, I can almost always get a piano if I need one. So there’s something nice about being on the road and focusing on something you want to do.
Really good director sometimes will kind of see what the actors are doing and then get in there. Because there's the realization that you have to find it a little bit and then kind of clump around and sniff it out.
A lot of people that make films say, 'We need this kind of character. Who's done it before? Get them to do it again.' That is exactly what actors are pushing against. It's kind of a cliche to talk about being stereotyped in that way, but it happens.
Not only do I think being nice and kind is easy but being kind, in my opinion, is important.
We need to get rid of bullying. We need to get rid of abuse. We need to get rid of harassment. We need to get rid of the casting couch. Instead, we need to build the bench.
The libertarian approach is a very symmetrical one: the non-aggression principle does not rule out force, but only the initiation of force. In other words, you are permitted to use force only in response to some else's use of force. If they do not use force you may not use force yourself. There is a symmetry here: force for force, but no force if no force was used.
Im hoping that for film actors there is this kind of emotional trigger on any subject. It need not be only slums. It can be anything. But even if it is tentative, sooner or later, it will - by its sheer force - engulf you in a way where you make a commitment and you get involved in it, beyond just making it an image-building exercise.
For me, I need to listen to music in the morning, and after, it's kind of like a shower, you know what I mean? It's kind of getting rid of everything. I always play music after I act. It's not a conscious thing, like, 'Oh finally, I need to do this,' it's kind of a constant need.
I like the idea of becoming [fairly] good at lots of things rather than very good at just one thing. So it would be nice to be okay at the guitar or at the piano, a reasonable cook, perhaps able to fix your car or do some basic carpentry, and be able to write the odd article. Rather than being super good at one tiny thing, to be kind of average at lots of things. It might mean that you have a more kind of enjoyable, complete life.
People have this notion of me being this sweet, nice girl, but I'm kind of a pervert.
It's important for survival that children have their own experiences, the kind they learn from. The kind their parents arrange for are not as useful. Good parents are the hardest to get rid of.
The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.
I struggled with kind of fighting with the inner illnesses within myself where my psychological madness and I have always kind of struggled with different disorders and mental things and so the biggest thing that I was kind of always ashamed of or being embarrassed of was kind of that.
I love a certain kind of acting style that I would call non-American, which tends to be more detail-oriented and less externalized. There's a kind of naturalism that I often find in non-American actors. I also find that quality in the American actors I work with, but I like to bring in those influences creatively.
We're finding that the casting of 'A Few Good Men' is different from the musicals because the kind of actors that you need to do it are movie actors, basically.
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