Top 1200 Film Actors Quotes & Sayings - Page 3

Actors can be very precious about their work and their scenes, but I think good actors have a strong understanding of narrative and are very often not as precious about that stuff. They just can't be because they understand what makes for a better film, and that it's the job of the actor to work toward that, and then if you want you can go to acting class or workshops. But making movies is not workshops.

Actors do all kinds of roles, but once in a while, we also want to do a meaningful film.

I'd love to perform with other actors and act with actors, true actors. I would like to be in a movie and have full room for acting.

TV artistes are far more professional and dedicated compared to film actors.

Working in film tends to isolate actors - it's your close-up; it's all about you.

In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."

It is about time that TV actors were paid as well as film stars.

I wouldn't say no to being in a film with Jude Law. I love English actors.

I didn't go to film school. My Grampa always says just watch a lot of movies. He didn't go to film school; he went to theatre school. It's interesting to learn about the technical side of it, but I think it's more important to learn about writing and working with actors.

More than good co-actors, if you have understanding co-actors, it becomes easier to relate with them. Many actors become insecure and get personal, which is not right.

In Italy, it is difficult to see a film in the original language because the voice actors here are a mafia.

I think a good rapport is required between actors for any film.

Film actors reach a certain level, but they don't get beyond it unless they work in the theater.

Preparation is really important for actors; they need to know who they are, where they're from, and the experiences up to the point that we make the film.

Coming from documentaries, my biggest challenge was to understand actors' psychologies. American actors take it all very seriously; British actors don't enter into all this methody way of doing things.

Is this film more interesting than a documentary of the same actors having lunch?

I never thought about the actors on television or film, like what kind of life they had.

There are a lot of actors in the world, there's a small number that actually get to work as actors, and there is a tiny group of actors that are celebrated in the way that I have been. I feel incredibly lucky.

As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.

You can think of Hollywood as high school. TV actors are freshmen, comedy actors are maybe juniors, and dramatic actors - they're the cool seniors.

Most actors nowadays are models turned actors. That's why a lot of young actors are terrible. You have to learn how to act. It is not something that you can just do.

I think it's counterproductive for actors to come to the set with well-thumbed copies of the book their film is adapted from.

I believe that the performance of my actors is of utmost importance to make a good film.

I did theatre when it was not considered prudent for film actors to be seen on stage.

Most of the film directors expect their actors to want to work fast.

There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.

Imported actors, like certain wines, sometimes do not stand the ocean trip. This can be as true of American actors in Europe as it is of European actors in America.

In terms of actors and actresses, I think Joaquin Phoenix is probably my favorite film actor.

A film becomes hit with the equal participation of every actors and crew members.

I have done film, television and theatre - all at a pretty substantial level - I don't think it's possible for American actors to do that.

As actors, we shouldn't worry too much about the language we are going to speak in a film.

Actors' performances do not stand alone in any film, live action or whatever.

Who says that actors are cattle? Show me a cow who can earn a million dollars a film.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

Actors in the film industry are usually wary of expressing their opinions on the issues of the day, politics especially.

I miss the generation of actors such as John Mills, where it doesn't surprise you at all when he crops up in a film tap-dancing.

'Do the Right Thing' was like the first film where I really felt comfortable working with actors.

When we watch a film as actors, you have to understand that we always see much more than what's on screen.

The way I see the job, my definition of it, is to create characters to the best of your ability and then fit into what's trying to be accomplished in the general framework of the film. I think that's whether you're doing this- even if you're doing musical theater. That's what I think an actors job is. I don't know. I like to think what an actors job is is to create characters.

There's a lot of us idiot actors that get tattoos and they cover them with makeup when you do a film.

It is the Jammu and Kashmir government, which has to take an initiative of inviting actors and the film industry to the state.

Someone who directs a film, they have to see the overall picture, and they have to get the best performances out of the actors.

My father comes from a generation of film that actors my age don't even know about, which is really sad.

The father-son thing, that's a separate thing. This film [Forsaken] was not about that. This was a film about two actors wanting to try and tell a story... and taking advantage of the fact that we looked like a father and son.

You look for those actors or actresses that fit the personality to populate the film.

Even as a child I used to mimic veteran film actors of the time.

I was able to capture on film things the actors didn't even know they were doing.

I was approached for the remake of Maniyara,' the yesteryear film that starred actors Mammootty and Seema in the lead.

Usually, when making a film, the surprises are negative surprises. You don't get what you wanted or what you hoped for. The only nice surprises are those that are offered to you by actors when they offer you these gifts, when they are better and give you more than what you had originally conceived. That doesn't happen every day on set, but if it happens a couple of times in the course of making a film, you can consider yourself very lucky.

When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with my characters], book after book.

I don't think film actors need training, really, but I needed any help I could get.

To me, the screenplay only becomes the Bible of the film after the actors have been cast.

I think a good director casts a film so that the actors bring a lot to the table.

I'm definitely looking forward to doing a film one day with more female actors.

It's not that I don't want to be famous. It's just that I don't feel like the burden of responsibility on selling a film should be on the actors.

Of course there's a value in a storyboard if you do a big - let's say an action movie and actors have to move and act in front of a green screen because entire backgrounds exploding and cars flying through there have to be created separately, and in this case you better make sure the actors are precisely placed and the background action is moving in a certain moment, for this type of film you would need a storyboard.

There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.

'The Master' is a wonderful film, honestly, and the actors, Joaquin Phoenix and Phillip Seymour Hoffman, are incredible.

The script is the foundation, but it's not the full story for the film, which only comes alive with the actors.

Basically, I would like to be considered for roles that are well-written. I think that part of the problem that we've had as actors is that they insist on looking at us as Latino actors and not as actors, period.