Top 1200 Working Actor Quotes & Sayings - Page 16

Anyone that knows me knows what I'm about, and I'm very much a British actor, a European actor.

I bring excitement on the sets. I'm an exciting actor, overrated, exaggerated. But I'm not an unexciting actor. I excite people. I never lose hope. If I feel that a film is going wrong somewhere, I do even better.

I want to be a commercially viable actor. I want that the distributors and producers should earn the money; then only, you become a bankable actor.

I'm an actor and I love to find new collaborations and new characters where I can grow as an actor and human being.

I have to say from an actor's perspective, to work with a director who has been an actor through most of their career is a pleasure. They generally have a very deep understanding of the process of what you're doing, of how you are building and exploring the character.

My father was an actor, and my mother was his agent, so I had it on both sides: the crazy actor and his representation.

But I was always an actor, and I kept telling myself that there will be a day when I will become a good actor.

The most important definition of an actor, the job of the actor, is to serve the writer, not yourself. Way too many actors serve themselves.

My dream as an actor growing up was always to challenge myself to different genres, different roles, and it's actually rare that an actor's given that opportunity to do that.

I don't want to just be an actor my whole life. I mean I do want to be an actor my whole life but not only an actor, I want to be an artist.

To be an actor, a true actor, you have to be brokenhearted.

I was definitely acutely aware, the transition of being seen as a child actor to being taken seriously as an adult actor. It's not always a smooth one.

I'm a director's actor; I'm a storyteller's actor.

It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.

For an actor, personal and professional life are two different things, and marriage is something which happens in everyone's life, and it is the same with an actor, too.

My main goal, starting out as a young actor, was to carry the reins that Pac left off and to reach the depths as an actor that I know he would have reached had he still been here with us.

I'm a recognisable actor, but I'm not a bankable actor.

Mel is a great director because he's not just a director, he's an actor, so he knows how to direct actors. I loved working with him. He's great as a director. He's so intelligent. He's generous. I really loved him.

It used to be presumed that if you weren't at your desk working, you weren't working. But we said, why can't we make a workplace where casual meetings are as important as working at your desk? Sometimes that's where your better creative work happens.

If you were a kid actor, if you had any plans of being an actor as an adult, you were really barking up the wrong tree.

I accepted that it would be very difficult to become an actor and it's even tougher once you become an actor.

I'm just like you - I want to be a good human being. I'm doing my best, and I'm working at it. And I'm trying to be a Christian. I'm always amazed when people walk up to me and say, 'I'm a Christian.' I always think, 'Already? You've already got it?' I'm working at it. And at my age, I'll still be working at it at 96.

But I would like to think that it's the actor that makes the difference in these cases. Not the director, not the guy that wrote the book, not the guy that adapted it for the screen, but the actor.

Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. "Ah, you worked with Werner - how was it? How did he direct you?" I was Fassbinder's actor.

As an actor it's like, go with whatever excites you as an actor. What are you're going to invest yourself in as a character? What are you going to get into? Have a variety of characters to play.

If the audience knows what's behind the door and the actor does not, that's comedy. If both the audience and the actor do not know, that's mystery!

The difference between being an actor and a director is simple. The director has to hide his panic; the actor doesn't.

My father wanted to be an actor, dreamed about being an actor, but he gave it up because my mom and his family told him, "You're never going to make it; it's too tough out there."

Working behind the cocktail bar was a different kind of escapism, a creative outlet with a newfound respect for alcohol. I didn't drink as I was also working day shifts in a coffee shop and, later, the fire service, and needed my wits about me to pull off my 60-hour working weeks.

It used to be presumed that if you weren't at your desk working, you weren't working, But we said, 'Why can't we make a workplace where casual meetings are as important as working at your desk?' Sometimes that's where your better creative work happens.

I live with someone, actor Peter Krause, who didn't find an interest in being an actor until the very end of college. So my message is: There's so much freedom left. There's no ticking clock. It's just not true.

To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.

An actor is an actor irrespective of age.

I think I enjoy working obviously as a lead, but also you know I feel I'm also a character actor as well, so I enjoy approaching various projects in all sort of capacities. Any film I have been able to do I feel very fortunate to have been a part of.

If there's anything I'd hate as a son-in-law, it's an actor; and if there's anything I think I'd hate worse than an actor as a son-in-law, it's an English actor.

I love that process in which there is no safety net. Then the actor also can allow mistakes, because there's no such a thing as a mistake. You're working with good actors, that thing that starts as a mistake becomes actually the life of what is going to follow in the scene. I find that it is fantastic, and for me it is easier than for the actors.

You want the actor to be happy with the movie. You really want the actor to think they did a good job and all that.

Scratch an actor and you'll find an actor.

There is a successful formula for every actor. At the same time, I also know that a film will not be successful if you satisfy only the fans of a particular actor.

I was an actor... or, at least, I was trying to be an actor.

I knew I wanted to be an actor, and my mother said, 'Call Aaron Sorkin.' It seemed dubious that I'd make it as an actor by calling Jews I knew, but it worked.

When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.

President Obama should stop campaigning and start working on creating jobs, start working on getting our GDP up, start working on strengthening our borders.

One of my favourite sorts of actors...the rat actor. The rat actor knows his job and gets it done.

Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. 'Ah, you worked with Werner - how was it? How did he direct you?' I was Fassbinder's actor.

My mother is a hardcore actor's actor. She's not a celebrity. She really isn't... And so her main concern was that I not fall into the auditioning-is-my-life syndrome.

I do want people to think of me as an actor, not just a posh actor who does posh parts.

When I was a young person working, everybody was older than me, so I had to kind of keep up. I'd see every movie and listen to everything played, and read all the relevant books. Being an actor, it's kind of your job to know what came before you and how big your feelings are allowed to be.

I was an actor as a kid in Boston. Then I went to art school with Brice Marden, the Massachusetts College of Art. So the hybrid of being an actor and artist is a director.

It's not like I prepare anymore, or have to think about my son being dead to get emotional. If you're working with a good actor and you're reacting off of them and you have a good script, it just comes organically. It's just stored in your body. So that emotion will just be brought out of you, as opposed to trying to force it.

I truly believe that the job of an actor and the drive of an actor is simulating the internal journey in life which is to get deeper and deeper into our understanding of who we are.

Every actor is a character actor.

I had to decide if I wanted to be a singer or an actor. I was always singing. I thought if I could be an actor, I could do all of it.

I have a tradition of working with actors, over and over again. I've worked with Jason Bateman, over and over again. You get to know an actor, and you get a certain trust and a comfort, and you become really good friends, and you feel like you've got a short-hand.

And I think that's why I was going to be a musician. I was very rebellious. And I didn't want to be an actor. My father used to say to me you should be an actor if you want to be in the arts.

'Hanna' was nice. It was Saoirse Ronan's idea. Usually, the director casts the actor, but in this case, the actor cast the director.

I get very excited when I see Govinda on-screen. I love him. What a great actor, there is no better actor than him in the country.

When I'm a director, I look at myself the actor as a completely different person. It's somebody else up there, an actor playing a role. I keep myself out of it.

When you rehearse a play, you spend four weeks with one goal in mind - to wean the actor away from you. You want the actor to become completely independent and to understand all the emotional and psychological moves within the character.

The idea of a journeyman actor, people sort of say negatively - "Someone who never made it for real" - [but] I think a journeyman actor is the complete goal.