Top 1200 Actors And Audience Quotes & Sayings - Page 3

I learned early on to abandon all those preconceived notions you have about other actors and it's served me really well. I usually just try to empty my mind of that. I love meeting actors and I love working with actors.

I tend not to think about audience when I'm writing. Many people who read 'The Giver' now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

There are so many brilliant, trained actors of color in America. If you just think about it, every year in the spring Julliard and NYU and Yale and hundreds of schools across the country graduate classes of trained actors, and in those classes are actors of color. So to say that there aren't enough actors of color is factually inaccurate.

The great character actors are now the actors whose work has the element of ritual sacrifice once claimed by the DeNiros of the world, as well as the element of danger - the actors who thrill us by going for broke.

In 'Hamilton,' we're telling the stories of old, dead white men, but we're using actors of color, and that makes the story more immediate and more accessible to a contemporary audience.

I don't photograph for other people. I love an audience, mind you. Once I've got them there, then I love an audience. Not a big audience, though. I'd rather please ten people I respect than ten million I don't. But I don't play to an audience, I do it for myself.

I love working with actors. I grew up with a lot of actors. All my friends are actors. I love that process.

I think it's worse for actors, though, because people have to choose you. As a director, I get to choose the actors, but most of the time, actors have to be chosen in order to work.

I love the chemistry that can be created onstage between the actors and the audience. It's molecular even, the energies that can go back and forth. I started in theater and when I first went into movies I felt that my energy was going to blow out the camera.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

I don't write with any audience in mind. I just write. I take a chance on the audience. That's what I did originally, and I think it's worked--in the sense that I find there is an audience.

I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.

Content is getting its due respect. Our audience wants to see characters on screen and want to see actors play new roles, adapt different body language.

While you can be trained and groomed to be a better actor, seasoning happens only to TV actors. TV actors shoot every day, and that makes a difference to the project. They are hard-working, but that's not taking anything away from the film actors.

You may have an older audience in front of you holding the Bible and a younger audience holding an iPhone. You don't want to lose either audience.

What do actors really want? To be great actors? Yes, but you can't buy talent, so it's best to leave the word 'great' out of it. I think to be believed, onstage or onscreen, is the one hope that all actors share.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

Part of the problem with producing contemporary political theater in America today is that many theaters don't have flexibility or resources, be it hiring a lot of actors or staging a work that might be tough for some audience and board members.

That is the next step for out trans actors - to just be treated as actors and not 'trans actors.'

I've heard New York actors say Chicago actors intimidate them because apparently we're the real nitty-gritty actors who're in a town where being onstage doesn't necessarily get you anything except your craft.

I think a lot of actors, especially actors with a theater background, have a musical ear. A lot of actors just want to be musicians anyway, and a lot of musicians want to be actors.

As a standup performer, I'm onstage, and it's important how the audience is looking at me. I'm looking at whether they're leaning forward or not, those types of things. You read an energy. And it's the same thing in a scene with other actors.

You have actors you've worked with previously, and you have actors you haven't worked with that you've seen in things where you know they can work in these parts. And then there are actors who blow you away, who surprise you.

I think I've grown up in an era where character acting on film has become less desirable for the producers and directors and therefore the audience. They have got used to the people that those actors really are.

Television is a great medium for actors to connect with the audience. Especially on the fiction front, we can gauge and get instant feedback, which helps improve our skill sets over time.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room. You've just got to be in the moment and go with it.

I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.

I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.

The actor has to have some degree of craft, along with the talent. No one tries to laugh except bad actors. No one tries to cry except bad actors. How a character hides his feelings tells us who he is. Most people don't know that, and most actors don't do that. Therefore, there are a lot of actors who put me to sleep, that are considered good actors, but they're predictable and boring. I know how the scene is going to end before it ends.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.

I like to work and there's no movies for actors, period, especially black actors. When white actors are like, 'Man, there's no work out there,' then black actors are like, 'Are you kidding me?'

Some celebrities, it's interesting, because they're fantastic playing a character when somebody is writing the lines for them, and they're amazing actors, but they're not as comfortable on television in front of a live audience and just having a conversation and being themselves.

When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.

I love actors that are brave, that are courageous. And courage to me is not the absence of fear, it's the presence of fear, and they go to places that really scare them, because as an audience, that's where you feel danger.

You can't plan your character arc - you have a vague idea, maybe, but I'm constantly surprised. Sometimes actors in films will play the ending of the movie, or even the middle, and you know where it's going - as an audience member you can read the actor.

My audience is a diehard audience. They are dedicated. My audience always follows me and sticks with me. They're the reason I'm still here - in the films and in stand-ups.

I think every theater in America wants a younger audience... and you can't just hope to have a younger audience, you have to program things that audience is going to connect with.

Bollywood actors are so set in what they want, and the way they want it. And why shouldn't they be? But it is not the same in Hollywood, because the love of the audience is not the same.

What I always loved about theater is that that's an experience that a company of actors just sinks itself into for weeks, and you really get to work on the material, and by the time you're in front of an audience, you really own it.

On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!

The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.

Actors are always grabbing each other on stage, looking in each other's eyes, making a moment so private, the audience doesn't know what they're doing.

I remember quite well that 10,000 audience sang with us three on the spot, and ever since then, I always thought the Chinese audience are the greatest audience.

I've seen productions where it feels like the actors are just tired and want to go home. That is one of the challenges doing theater - especially a long production - how to keep it alive for yourself and the audience.

You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.

It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.

I love the chemistry that can be created onstage between the actors and the audience. It's molecular, even, the energies that can go back and forth. I started in theater, and when I first went into movies, I felt that my energy was going to blow out the camera.

When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.

Who are these people who are taking these decisions of casting only young actors in films? It is the filmmakers and the film producers. I don't know if that is what the audience wants because I really believe that masses respond to a good story.

If the scene bores you when you read it, rest assured it WILL bore the actors, and will then bore the audience, and we're all going to be back in the breadline.

To me if there's an achievement to lighting and photography in a film it's because nothing stands out, it all works as a piece. And you feel that these actors are in this situation and the audience is not thrown by a pretty picture or by bad lighting.

The actors in Britain are incredible, and I didn't appreciate that until I got there. They interpret your words and you realize how deliberate and thoughtful they are. There are great American actors, too, don't get me wrong, but the technique that British actors have is something really special.

In my collection, to me at least, the theatre of the past lives again and those long-dead playwrights and actors have in me an enthralled audience of one, and I applaud them across the centuries.

It's pretty inappropriate of fans to think they can expect any kind of narrative from showrunners or writers or actors. I just don't think that's the way you should engage with material that you're watching as a passive audience member.

As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.

I don't any longer make any quality judgement between theater and cinema. They are different experiences for the audience, and they also are for the actors - although they have a lot in common.

Even in the tragedies, [William] Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools.

I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.