Top 1200 Film Actors Quotes & Sayings - Page 9

The best voice actors all have a live performance background. And are competent, fearless, incredibly creative actors.

Anurag Sir is someone I have always looked up to and hoped to work with, like many other actors. It's a tremendous opportunity to be collaborating with him on my first film; I really feel fortunate. His conviction in me is very valuable.

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

Maybe the the luxury of not having acting be my only profession is that I can be more selective about what I choose to be in. I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.

I think as film actors we are comfortable on stage because we know what the audience expects. The only tricky part is to remember the lines and that body language is key, which is something we tend to forget after years of acting in front of a camera.

Actors become disposable. I feel female actors have to back each other.

I get a headache when films are too filled up with people. And I don't understand what's going on if there are too many extras walking around. This film was very comfortable for me, I want to see just the actors. This is how I can concentrate.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

AMC has a track record for finding actors who have been working actors but not names yet and casting them.

Going out with other actors is never good; actresses are neurotic, and actors are horrendous egotists.

I feel very privileged working with other actors. Actors tend to be the best company I know.

I tend to love actors. I was trained as an actor first so I'm drawn to actors.

I know from teaching that actors want to act. Even the subtlest actors can do a little too much.

Trust is hard to get from actors, and for me to give to actors.

I love to combine first-time actors with seasoned actors.

These actors who were in 'Dope' are the actors I want to continue to collaborate and make films with from here on out.

Other Asian actors, especially American-born actors, sometimes shy away from immigrant roles.

We are adjusters. We empathize, we change rhythm and above all we listen to our fellow actors-if they're good actors.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

Good actors are a dime a dozen, but I want actors that are gonna be part of my team and collaborative.

'Toast' is based on a bunch of actors but especially one guy. I worked with him on a film and realise that if I mentioned any actor who was around his age but more successful, it would drive him insane. So from sheer devilment, I'd do it on purpose.

The point is the 'me' that you see before you is not the 'me' in my private little space, shape-shifting into the writing role, nor is it the 'me' that works with the actors. Here, at the end of the film doing interviews, I feel like I'm in disguise.

I love working with actors. That's what the set really is, for me. It's my time with the actors.

Actors are actors, and there should be a complete fluidity for anyone to play anything.

I don't think kids of actors become good actors but exceptions are always there.

I'm sure there are directors who don't like to work with actors and don't know how to be sensitive to actors.

I've never been aware of the difference between so-called posh actors and working-class actors.

I'm sure there are actors out there who work with other actors on a consistent basis - I am not one of them.

The best actors instinctively feel out what the other actors need, and they just accommodate it.

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

I completely agree when there are actors who say, "Actors should stay out of politics. We're not politicians."

Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.

I know from teaching, that actors want to act. Even the subtlest actors can do a little too much.

Normally I'm watching people become actors in the process of making the film. It's very important you have a lot of respect when you are dealing with young people. You are in charge of everything about the process. You're an adult and they're not.

Brad Pitt is a dude who just wants to make good movies. He's not afraid to surround himself with the greatest actors, which I always appreciate because I've also seen actors who only want to surround themselves with weak actors because it makes them look better. That ends up making a poorer movie.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

It's a phenomenon that I see with young actors - a lot of American speaking parts going to British actors.

The industry looks for white actors and actresses, but it's not the same for black actors. We have to really put the work in.

I have a background in theater, so I have experience with actors. I like actors - I used to be one.

I like to do theater and hopefully be effective. Most actors, at least contemporary actors of my generation, can't do it. They don't have the chops.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

What I loved about the 1950s is that there is an aesthetic to even the average film. The way the camera is placed, the way characters move, the way you dressed the sets, the respect for craft and actors, I do miss that in today's films.

It was the fashion of the time, still is, to feel that all actors are neurotic, or they would not be actors.

With actors, I have very close, intense working relationships with actors in theater.

I'm not saying every musical theater actor can do film or television, but a lot of them can. A lot of them are brilliant actors who absolutely don't need to sing to prove their ability and don't get the opportunity.

Hollywood is more concerned about its male actors being in shape than its female actors.

Generally speaking, actors are allowed NO input. Actors are dumb.

Chicago actors are hard-nosed. They're tough on themselves and their fellow actors. They're self-demanding.

I like being around actors. Imagine not liking actors.

I like working with kid actors because they surprise you constantly. I mean, all actors do - but kids particularly.

People in the film industry always want to save for a rainy day. Many early actors died in small houses with no money, and so they are insecure. My advantage is I don't value money that much. It's an easy thing for me to let go.

There are three things that are important for a film. Number one is story, number two is story, number three is story. Good actors can save a bad script and make it bearable, but good actors can't make a bad script good - they can just make it bearable.

I look at actors very closely. It's not an accident when the actors excel.

Actors love to do extreme things, so that is why they become actors; otherwise, they'd be novelists.

A lot of male actors are method actors and they become the characters which they both were.

It is important to understand that there is no distinction between comedians and actors. All are actors.

In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smashing crockery and competing verbally.

You don't write for actors. Actors come for characters you've made up.