Top 1200 Film Actors Quotes & Sayings - Page 15

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

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.

Latino actors and actresses have had to struggle for decades, but when I came around with Real Women Have Curves, attitudes were starting to change. We screened the film all over the world - in Jewish communities, black communities, Greek communities, German communities - and people across the board said, "That's my family."

Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.

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.

I've said before that the common perception that all good actors should be good liars is exactly the opposite; only bad actors lie when they act.

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

In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.

When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.

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.

My favourite film is probably 'Star Wars'. I do love 'Starship Troopers', it is a great film but it's not a film I watch over and over again. Whereas 'Star Wars' I've watched over and over again all my life, and it's a film I can tolerate watching with my children.

I have songs that define characters from each film of mine. It can be a song from that particular film or something that just goes with the wavelength of the film; you listen to it, and it gives you that rhythm. I can't articulate how it helps, but it somehow gives you an understanding of the character.

I think the other honest attraction was that I just grew up loving watching TV and loving watching film, and there's so many directors and actors that I dreamed of working with, I just really wanted to take a crack at it and see if I could ever work with some of those.

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 made four comedies, and all did well, but I always wanted to do an action film. When I saw 'Singham,' I thought this was the right film. Many stopped me, saying, 'You are doing so well in comedy, why do you want to make this film?'

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.

Independent film making is very collaborative. You feel like it's you, the director and other actors and you really feel like you have the final say. When you do the bigger films, the studio has to give the final thumbs up and they're usually not big on risk taking because they're trying to make money.

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.

A lot of film directors are quite scared of actors. They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.

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.

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

In 'Uncharted,' we do the scenes the same way you would do a film or television show. The motion capture - the performance-capture process - is what makes such a difference for this franchise. So I don't approach it any differently. The other actors and I go in and rehearse scenes together, and then we go in the next day and perform.

See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.

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 did the Kannada film when just out of school. I didn't know anything about the South Indian film industry at that time, and I did the film to earn some pocket money. I realised then I like acting.

I think there were bad actors in the government and bad actors in the finance, mortgage, markets industries that need to be called out and held accountable.

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

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.

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.

We write for actors and even down to the smallest character in the film, they all have their moment. You take that and you put it in a story that's in your face and there's tons of hardcore R action, nudity and you name it, but at the same time there really is a story there. It's got heart and at the end of the movie people will feel it. So I hope they'll their friends and want to see more.

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.

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

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

I'd like to do a film in Canada, but it's too difficult. National Film Board funding takes too long, and there's too much paperwork; by the time the film is approved the topic is dead and gone.

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.

I knew that we had an obligation and that was to keep an energy in it and try to keep the audience interested. In fact, I asked some of the actors to take a look at His Girl Friday, a Howard Hawks film with Rosalind Russell and Cary Grant, because they talk over each other and there's a great energy.

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

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 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.

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.

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.

When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.

It used to be that you kind of got pigeonholed into one thing - you're either a stage actor or a TV actor or a movie actor. Today, there's a lot of crossover with film actors doing television, which never happened before, so those lines are a little bit more blurred than they used to be.

One of the things I tried to do is to kind of talk my actors through the scene, but at the same time let them know how I plan to shoot the film and just give them an insight into the way I'm thinking, so that when they're acting out their scene, they can kind of see it in their minds' eyes.

'Stomp the Yard' was a great film. It was a great film, great opportunity. It's the reason I live in Atlanta to this day, that film. But as far as acting goes, it wasn't very challenging. I played me.

To be a film director is not a democracy, it's really a tyranny. You're the head of the project, for better rather than worse. I write the film and I direct the film, I decide who's going to be in it, I decide on the editing, I put in the music from my own record collection.

But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.

I spent my 20s making film after film, often in very adverse conditions. You'd fly back from somewhere - Beirut, the Falklands, South Africa - on Saturday, and you'd have 24 hours to cut your film, and it would go out on Monday night.

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.

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 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.

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.

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

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.

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.

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.

Even though I've mostly done movies, TV has developed in such a wonderful way over the past few years in the sense that film directors are being involved and some fantastic actors are committing to seasons of series. There are some fantastic writers working in that medium right now.

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'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.

When I found out that I'm playing Nagini, I thought it was meaningful because it's an important character in the 'Harry Potter' series. 'Harry Potter' is a franchise film with many Caucasian actors, so I thought many Korean viewers would be happy.