Top 1200 Character Actors Quotes & Sayings - Page 12

I think the world's a little smaller these days. With the Internet and the availability of people, the pool of English speaking actors - not just American actors, but Brits, Australians, New Zealanders, Irish. We're all up for grabs.

I know I've said it before in interviews, but the idea that all actors have their eye on some sort of prize - it being an Oscar, or fame, or whatever - not all actors I know are like that.

The real tough thing is working with actors. I'm a designer and used to working with artists, so there is some familiarity with the personalities that come up, but actors are their own animal.

I don't like the actors to work together beforehand. I trust my intuition, and I like when the actors are the same.

When actors get a bad name for diva behavior - I've never seen it. Because my experience with people who are really famous actors is that they work really hard.

Several southern actors are coming to Mumbai. Likewise, many Bollywood actors are appearing down South or borrowing ideas from southern films.

As the actors on the show we rarely get an opportunity to, as I said we get the scripts the night before but we have great producers on this show, so every once and a while matt or mike will say "I want to take the character in a different direction this season, what do you think about this?" and we do sort of get to add to it and feed it.

The humanitarian ecosystem is diverse - not only is there a variety of traditional humanitarian actors, but the system should also embrace an increasing diversity of private sector actors.

The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

I had two ambitions: One was to be in The Actors Studio, and the other was to walk into a bar where actors hung out, and everyone would know that I was a professional actor and I would be accepted.

We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.

The fundamentals for me are character and conflict. I put character first because readers will be indifferent to conflict if they are indifferent to the character who is experiencing it.

I don't offer advice to actors only because I've seen actors become successful through ways that would never even occur to me or that wouldn't work for me.

I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.

Shows like 'Empire'... one of the most profound powerful things is that there's a gay male character who is loved. That character is going to save a lot of people's lives. Black families are confronting the idea that a gay black character can be human.

I don't like that, because there are a lot of people whose works I admire as actors or actresses, or musicians. And you know, I've been a big fan of different musicians or actors.

Why is it that the producers can do anything and get away with it, and the actors are held accountable for everything? The makers often stop actors' payments, too. Everything is in their favour in the contract.

You know, some actors, all of their potential is in their youth, and when that passes, their qualities of as an actor pass. But he - Alan [Rickman] was the opposite, and their are other actors who are like that, who, really, their potential is in maturity.

There are actors who make no decisions about how to play something until they're in the moment, looking into their scene partner's eyes. So they're completely available for whatever happens. And those are actors who tend to avoid getting into patterns.

I'm drawn to people who share that sense of loss. All actors are trying to repair damaged relationships. I think that might be why I've been drawn to other actors.

All these social media sites allow us to confuse truth and popularity. That has to be fixed. Because every normal citizen has a right to know what is factual versus what is amplified by good actors or bad actors.

Because of the way we let the actors improvise, it feels like you're watching people react rather than actors reading lines - so I think that's always going to be something I like.

I look up to actors. I look up to Robert DeNiro, I look up to Johnny Depp, I look up to Al Pacino, I look up to run-of-the-mill really good actors. I love watching movies, and I love watching other actors and learning from them.

I think there will always be a particular generation of actors who... think that they're going to be replaced by robots. But certainly the emerging actors... understand that that's part of the craft.

Character is distilled out of our daily confrontation with temptation, out of our regular response to the call of duty. It is formed as we learn to cherish principles and to submit to self-discipline. Character is the sum total of all the little decisions, the small deeds, the daily reactions to the choices that confront us. Character is not obtained instantly. We have to mold and hammer and forge ourselves into character. It is a distant goal to which there is no shortcut.

My work requires acting at its most committed - it demands actors of enormous resilience, but also intelligence and wit. It doesn't work for narcissistic or selfish actors.

Actors only have our bodies, voices, and the text. So I think actors need to have a fit and in-tune body. I was always very disciplined in wanting to have that. Thats one of my favorite things - playing a role with a physical requirement.

I came out of the old Second City in Chicago. Chicago actors are more hard-nosed. They're tough on themselves and their fellow actors. They're self-demanding.

Some actors are what I call more like mirror actors, which means that they do a performance at home in front of the mirror, and then they go deliver it. I'm not that type.

It's my goal to help actors achieve their best work, and I think I speak the same language as actors, so I understand how they do it, and I just love being able to create the playground in which they build their beautiful sandcastle.

I've always written for actors, and if you want to write for good actors, you have to write parts that are surprising, that are human, and that allow them to go to a wide range of places.

There's a lot of egos with actors. We certainly don't like to be directed by other actors, or anything like that.

It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.

What is it about actors? God knows I get bored with actors talking about themselves.

The press like to talk to actors. They mustn't be surprised when actors talk back to them.

I know there are different kinds of actors, but I tend to have less effective relationships with actors who have a very private process - who really need to do lots of internal work, so that I become merely a witness until they're ready to share.

Bad actors try to cry, and good actors try not to. Bad actors try to laugh, and good actors try not to.

My advice to actors? To successful actors, it's, "sock it away," and unsuccessful actors, it's just, "Just keep at it. Don't do it unless you have to do it and if you have to do it, keep you've got to keep your instrument in shape. You just got to keep on getting better. If you're not getting better, you're standing still.

I have always been a big fan of the character and am more of a moviegoer than a comic book guy, there is always something about the character of Batman that is very elemental. There is a great powerful myth to the character and romantic element that draws from a lot of literary sources

My advice to actors? To successful actors, it's, 'sock it away,' and unsuccessful actors, it's just, 'Just keep at it. Don't do it unless you have to do it, and if you have to do it, keep - you've got to keep your instrument in shape.' You just got to keep on getting better. If you're not getting better, you're standing still.

In other words, character is far more important than intellect to the race as to the individual. We need intellect, and there is no reason why we should not have it together with character; but if we must choose between the two we choose character without a moment's hesitation.

After working for years in Hollywood where the actors have taken over, it was a real relief to get down there and not only have some children, but also have some actors that had no attitude.

I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.

I know a lot of actors who get a part and then they dissect it and they want to change it and they want to add stuff. I'm always amazed and so impressed by actors who do that.

Actors are almost conditioned to get their director's approval. 'I just did my song and dance, boss. What did you think?' Actors are infantilized so much.

Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.

There are a lot of limitations and stigmas that are placed on young actors, specifically young black actors.

I don't have a problem with big name actors coming into animation. It actually has been done for years and we are after all actors, it is just a different medium that requires a different technique.

I'd been concerned all along that the character of the president in the West Wing pilot would throw the ensemble out of whack, that that character would simply take up all the oxygen in a room. I wanted to hold off bringing this character in until the last possible moment.

I mean, the actors that I admired were Marlon Brando, Montgomery Clift, an actress named Barbara Harris. And Greta Garbo. They were great actors.

I was able to be distant by portraying another person, another character, if you will, and I found myself not stuttering and not having anxiety attacks when I was portraying another soul, another being, and I found comfort in that. I think many actors do, playing someone other than themselves.

I like young actors because they're so unspoiled, not like some of those actors who are about half an hour into their fifteen minutes of fame by the time they get to me.

I think the best way to become a character is by osmosis as opposed to thinking directly about stuff. The more material that you have and understand and have a going in, then the more complex your character and the understanding of your character will be.

We have a particular philosophy in the casting room that we don't really tell the actors - the actors tell us.

I don't like the word 'strong,' because a strong character is never an interesting character. A character is made interesting by their vulnerabilities and their weaknesses.

People imagine that actors are being offered everything and you are not. So things come in and sometimes there are things that I want and can't get a meeting on, or go to a different actors.

I think a lot of actors need validation. If you see truly amazing actors perform, they expose themselves to such an incredible degree. You can really see their pain.

There's a very old tradition of theater actors doing their own makeup. It's like putting on your mask. There's an element of storytelling involved in it - you put on your character when you put on your makeup. At least, that's how I like to look at it.

There's actors and actresses who I call 'Trailer Stars' because their importance is expressed by how big their trailers are. And then there are real actors, who are real good people.

The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.