Top 1200 Actors And Audience Quotes & Sayings - Page 16

I think good actors - good, collaborative actors who see themselves as leaders in a given production - can and should offer ideas that have nothing to do with wanting to direct themselves.

Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it coalesces.

Television is a big platform for actors, and so many actors have made it to films from there. And for me, too, it has been a great transition from the small screen to the big screen.

What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.

I think a lot of audience members don't realize the part that they play in live theatre. The audience actually has a mood. Sometimes they're tired and bored, and we have to wake them up and engage them.

The government should take a decision on whether to allow Pakistani actors in India or not, but I think directors and producers will themselves not cast Pakistani actors seeing the kind of opposition the country is witnessing against them.

I enjoy comedic things. People don't understand it's the hardest thing to do. We have a ratio of 25-to-1 between good dramatic actors and people who are considered good comic actors.

A pilot is like the most extensive dress rehearsal you can ever imagine, because the writers are learning about the actors, the actors are learning about the characters.

I already love acting and I love actors, so being able to communicate with actors and to bring performances out of them, and to tell a story and aid them, is really exciting for me.

I'm good with dialect. Some actors do it immediately; other actors never quite get it. It's something I've always really enjoyed and something I've always been pretty fast with.

I love talking about acting. I'm just such a fan of actors and filmmakers, and I try to choose roles where I get to talk to great actors about acting and learn.

Actors are actors. They're all buddies. I've done so many movies and TV that you get to be friends with everyone. And the ones you don't get to be friends with, you simply don't work together with them again.

I don't think just because I work with big actors, I will become a big director. So I work with only actors who do justice for my roles.

To change man, the audience by which he judges himself must be changed. A man is defined by his audience: by the people, institutions, authors, magazines, movie heroes, philosophers by whom he pictures himself being cheered and booed. Major psychological disturbances, 'identity crises', are caused when an individual begins to change the audience for whom he plays: from parents to peers; from peers to the works of Albert Camus; from the Bible to Hugh Hefner.

I just think that, you know, what young actors actors and actresses have to factor into their work is all of the social media and the pressures that come from social media and the scrutiny that they're under and so nothing goes under the radar.

If the role is right and it's another situation of having a benevolent genius at the head of it, someone who likes actors, and will protect the actors from the ravages of reality-TV drama. It's a brutal world, and you need to have a strong creative team who can stand up to the network.

I think everybody's goal was to make something that was really broad for a big audience, which was my goal too. But my main goal was that I wanted my audience to love it, because they're the ones who are going to buy it, and they're the ones who are going to tell their friends. And I wanted to make sure that core audience was really happy, because if they all buy it we have a successful movie.

I do like to keep abreast of what the hardcore vocal members of the comics-reading audience are talking about on Internet message boards, but there are so few of them, as a percentage of the buying audience, that I can't allow their opinions to dictate story direction.

The way the recession has affected Hollywood, a lot of actors that had robust opportunities before in film no longer have such plum options, so cable has done a good job of becoming a happy medium for artists deemed film actors.

Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.

There are problems in Canada. There is a certain inconsistency in the acting. I don't mean to sound chauvinistic, but we do have a larger supply of good actors in Hollywood. There are good actors in Canada, but not as wide a choice.

I'm fortunate enough to have had an opportunity to do a range of stuff, and the thing I admire most in actors is versatility, those that morph and change, those kind of chameleon actors who are unrecognisable from one job to another. That's something that I aspire to establish myself.

We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.

What social media has done - Facebook, Twitter - is show the audience. I don't have an audience. When I make my work, it just goes out into the ether. I have a thick skin and it just brings me down to earth, you know, to realize how out-there and far away and paltry the audience is that gets what I'm saying. It's depressing if I let it get to me. And it's the same with hanging a show, the way it's put up, like, three stories high and you can't read a single word.

I think all those actors from that generation, like Bogart - they were wonderful actors. They didn't act. They just came on and they did it, and the characters were wonderful.

There are good roles for actors of every age now. In fact TV is a breeding ground for new talents. There are so many actors who start their journey with television, learn so much from here and then start try in films and web.

We started out as actors. When we were coming out of high school, we didn't want to be struggling actors, and - I remember the conversation - we were like, 'Let's invest in real estate!'

The only Shakespeare I ever did was a production of 'A Midsummer Night's Dream' two years in a row in my garden in Rockland County on the Hudson River in the 1980s. I had all the actors from the Actors Studio come out, and we made our own costumes.

Actors like Pran Sahab, Jagdeep, Asrani established their identities by doing specialized roles but today acting is more general. Actors used to be image conscious then but now heroines are also playing negatives, it is a notable change.

From my experience, I would say no: actors of East Asian descent don't get the opportunities white actors do. I know that's inherently a problem in a country that produces a lot of period drama, but I have to fight so hard to get parts that don't have something to do with China.

I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.

Poets have to be sensitive to their audience, but it does not mean that they censor themselves. I realise my audience is diverse. Some will read with empathy and curiosity while others will take offense.

I'm not against making new fans, but I'm not going to go out of my way to pander to someone and try to make them like me; that's not who we are. It's not as if we're fighting to find an audience - we have our audience, and anybody else is definitely welcome.

I'm not writing necessarily for an audience. I think about the audience at the end, once I have a complete book. But, when I'm writing it, I really need to feel like I'm learning, and I'm investigating something that I'm personally interested in.

The internet has created a transnational audience. If you publish something in the New York Times, it's read all over the world. Who knows how big this audience is or how long it will last.

I do not choose my listeners. What I mean is, I never write for my listeners. I think about my audience, but I am not writing for them. I have something to tell them, but the audience must also put a certain effort into it. But I never wrote for an audience and never will write for one, because you have to give the listener something and he has to make an effort in order to understand certain things.

I don't really like actors. Actors are like terrible comedians with no punch lines. It's all about them. They talk about themselves all the time. They bore the sh - t out of you.

Good actors never use the script unless it's amazing writing. All the good actors I've worked with, they all say whatever they want to say.

We think it's fun for our kids to have cameos and join us on set, but not to be actors. That's not our goal for Brad and me at all. I think we would both prefer that they didn't become actors.

I know a lot of actors who started out as musicians and have very successful careers as actors, but most people don't know them as musicians.

I know there are some actors who are just brilliant at improvising and brilliant at just being in the moment and doing it there and then. I'm not one of those actors.

You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't.

A lot of baseball players think baseball is cool, and the audience that we have think it's cool. It might not hit every audience, but I don't think there's a single sport that's going to hit every audience.

I think, in general, straight actors should be able to play queer roles just as much as queer actors should be able to play straight roles. I think the reason why the debate is there is because we haven't had enough queer actors being cast in anything. People are in need of that representation in general.

There's posh character actors. For God's sake, Olivier was one of the greatest character actors in the world. Hamlet, Shylock, Othello - Othello! Whether you like it or not.

If you're not doing something right, you can feel it on stage, and if it isn't going well, the audience will tell you. A teacher can teach you sense memory and this and that, but until you get in front of an audience, you don't really feel it.

Being on stage was all about the palpable energy of a rapt audience hopefully buying into a life onstage. The immediate connection with the audience was the best part for me. The camera is not as fun, but your work is preserved forever. There's immortality to it.

When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.

Actors aren't fighters. They don't know how to throw a punch. So, there's a lot of hitting in the face. I'd much rather fight with a stuntman than another actor. I don't like fighting with other actors because somebody always ends up getting hurt.

I've worked with some actors who have such thick skins and think they are so extraordinary. I'll think, 'Have you stopped learning?' They stop listening to directors or other actors and do the same thing again and again.

When I do interviews about movies I direct, I often talk about how my superpower as a director is that I'm an actor. I can talk to actors. I'm not afraid of actors.

Competition [in a scene] is healthy. Competition is life. Yet most actors refuse to acknowledge this. They don't want to compete. They want to get along. And they are therefore not first-rate actors.

Fame is directly related to the kind of support you have from an audience and the love and support I have from audience is so immense and so huge, that the percentage of negativity is so small compared to that that it would be very easy for it to lose itself.

We live in the golden age of character actors - in an age when actors who have done their time in character roles are frequently asked to carry dark movies and complicated television dramas.

My understanding is that it's quite difficult for actors in the theater to know anybody but actors in the theater. It's the whole concept of the amniotic fluid surrounding one industry, holding people in place. I've never had a season ticket. I'm always a tourist.

I haven't been somebody who's been smart about his money. There are a couple of actors who are quite brilliant with the way they've handled their money. But they're not very good actors.

Developing aesthetic sense is vital for actors. They must understand that there is no small role, only small actors. A good actor will do the smallest role to perfection, and be recognised.

Hence the genius of having Ken steer this ship as well. You have to invest these characters with a Shakespearian quality and not in a way that might disengage the audience but in a way that actually lets you play to an audience.

Actors want to act; actors want to emote. It's like the emotional equivalent of tearing your shirt off and screaming to the heavens: you want to express, and you want to be seen to be expressing.