Top 1200 Film Actors Quotes & Sayings - Page 6

Every industry, there are rogues and bad actors. There could be rogues and bad actors in journalism. Rogues and bad actors in medicine. Rogues and bad actors in the legal community.

When people don't like the film, I can take a bullet. I don't mind you talking about me, but I'm protective of my actors, because they bared their soul for me.

I don't think there should be any discrimination between TV and film actors. I think our job is to act, irrespective of the medium.

Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

I decided I would open this little actors' workshop I always told actors to look for. That gave me something to do on Wednesday nights, and after about a year of that, I realized that some of the things I was saying to actors probably had broader application. I ran into a magazine called 'Speakers For Free.'

I was so obsessed with film and actors that I wasn't a very good student. I was always in trouble, but my father would always take us to the movies.

I think 'Drishyam' turned out to be an excellent platform for me. I got a chance to share the screen with actors like Ajay Devgn and Tabu in my debut film. And I was appreciated for my job.

Most actors and actresses are performative as people. It goes part and parcel with the profession and New York actors who are out of work, or actors anywhere out of work, are manic because you never know when the next job is going to come.

I've dealt with a few method actors, and I don't know if should say this, but I think it's a bunch of nonsense. I think it's film acting and you just have to be on when the camera is rolling.

It doesn't matter if I have experienced actors alongside or novices. It doesn't matter if the director is one film old or a hundred. All I'm interested in is doing justice to the role.

Some film actors want to sit back and look at every scene and all that crap. No, you're an actor - tell the story, and when it's told, there's another one to tell.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film

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.

The interesting thing with child actors is that kids are natural actors. They're wonderful actors, and most kids are acting all the time. They're imagining they're out in the yard playing. They're imagining that things happened, and they can get very vivid.

Every time actors from down south do a Bollywood film, it is always looked at like, 'Oh it must be a one time thing,' or a stereotypical role.

You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.

The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.

You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.

The hardest thing for a film actor, especially if you are in a lot of the film, is sustaining energy for the entire length of a production. It's quite tough. With acting, it's not the same as directing. Directors work the exact same hours; directing is incredibly exhausting. The only difference is that directors aren't required to have bursts of energy and focus. They're probably focused the entire day. Actors have this thing of "stop/start." That can be quite draining, actually.

When I got out of school, it used to be that it was theater actors that ended up doing film and television, and you had to come from the theater to be taken seriously in that world.

I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.

I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.

The poor show of a film can be crucial in an actor's career. Maybe that is why some actors choose to act in a lot of films, so as not to be affected by a single hit or a flop.

A lot of actors have roles which stretch from the beginning to end but they don't register or make a mark. It depends on who you are. Like if you are an actor who has fire, you can work in any film and show that.

I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.

I was really able to confirm something that I knew on some level before I'd made a film. The best actors know how to really relax. Because in film, a lot of the decisions are made in the editing room, so when you're trying to guide your performance too much - always it's a push and pull because you can't be too relaxed. Too relaxed and it's like, "What are you doing?" Too tense and it's not good either.

Every single time when you act in a film, and there's a different director, which of course as actors we're used to experiencing that's what we do, it's a different experience.

There's always an intellectual side to the films Ang Lee's doing and to the characters, and there's such a deep knowledge when you've worked with the actors that he's worked with, on stage in particular, but also in film.

I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.

After working with so many great actors and acting students in film school, it was a whole other thing working with Luke [Kirby].

Actors shouldn't be scared. Don't get scared on film.

As a runner on a film, you are the lowest of the low, and yet you have incredible access to everyone. I can totally imagine that for actors in the middle of a Hollywood bubble, all they really want is a sense of normality, and that gopher can be a tap for that.

Seeing a film at the cinema, or a DVD or whatever at home, your brain is really receptive to not only whether the script's working, or if the actors are acting well, but also the colours.

The barrier between TV and movies has come down and film actors are willing to do TV and vice versa, because they just want to follow what's interesting.

Violence is used to portray what happens in a film. It only helps portray the actors and what they do. I think it is more about the story, when you have something to play off of.

I don't know anything about directing, but if you love actors, know your story and hire a great company, then anyone can direct a film.

My first job was a film called 'Storm Damage' for the BBC. I was 16 and working with really respected British actors. I didn't have an agent at the time, and it kind of threw me into real acting.

Making a film is so hard that if you don't have your main actors going along with the ride with the rest of the crew it can make your life very difficult.

Actors, I think, are all the same. Both Korean actors and American actors are all very sensitive people, and they are all curious to know what the director thinks of them and how they are evaluated, and they try to satisfy the director. And they like it if you listen carefully to their opinions and accept them.

In England or America, actors do not have to cater to an image. In India, it is almost demanded of us. Very seldom do you get a film where you can walk away from your image.

It's amazing that for actors mostly, it's a risk to attach yourself to a film that you don't know whether or not it's going to even be made and if you sign on, in doing so, who else is going to be in the movie with you.

In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.

Film acting would be about 80 percent better than it has been lately if actors did their homework, if they didn't have egos that took the size of their talent for granted.

I usually go with roles that I find entertaining. But every once in a while, there comes along a film that has an important social message. As actors, we have a certain responsibility toward our audience.

You fight for certain roles, and you realise they're being filled by television and film actors, because theatre is constantly fighting for survival and they need names and faces and ticket sales.

I really like to work with theater actors. Theater actors tend to do lots of independent movies, and those are the actors that I like.

I thought his performance was absolutely wonderful and had said so, but he seemed, as actors quite often are when they first see something, to be disappointed. I think he expected more from the film and himself.

For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.

I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.

That period between finishing the film and opening night is agonising. That's part of why actors go from job to job - so they don't have to live with the anxiety in the interim.

The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.

[This kind of strange mythology about me.] I've pulled a huge steamboat over a mountain; I've done a feature film with all the actors acting under hypnosis - things that are very unusual.

There's not a lot of talking between actors - either between actors or between actors and directors. People think that they sit in rooms and talk about psychology and motivations. I don't think that happens much.

When there's film rolling through the camera, there's a heightened awareness of the importance of that moment, from the actors and the crew. It creates a much more old-school respectful atmosphere for the process.

In film, other actors' performances really are not your concern. If the other actor isn't giving you what you want, act as though he were.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.

If offered a good role, I would like to work in a good Punjabi film. This land has produced great writers, poets and actors.

I started out my career as a screenwriter and quickly discovered that adhering to a script isn't always the best way to make a film. You have to take into consideration the nuances of the characters and what the actors bring to their roles.