Top 1200 Young Actors Quotes & Sayings - Page 3

I know in Britain with 'Doctor Who' all the classic actors, and the people who you'd really want to, work on the show. I like that the fact that 'Torchwood' has actors that want to be involved from the stage. It has raised our game, and I'm just happy for good actors who want to be in sci-fi shows who love the genre.

Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.

Young actors like Varun Dhawan, Tiger Shroff and Jacqueline Fernandez are extremely fit. They can spread awareness about fitness among the youth.

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.

If I had my way, all actors over 55 would be issued a 3-lb. wet salmon with which to slap the face of every young, beautiful, successful upstart.

It is unfortunate that the poor judgment shown by a small group of young actors has tarnished the reputation of every child who has ever appeared before a camera.

Doing 'Young Adult' was really reassuring to me in a lot of ways. It confirmed a lot of suspicions I had about great actors.

I always tell young actors to have a back-up. You don't want to find yourself at the age of 30 still struggling to make a living out of acting.

Working with young actors is really going with trust. I never see them act beforehand. Because that's not their job. It's my job to make it happen on set.

The number one reason for the death of young actors' careers is people get so used to seeing them playing that one character that they can't accept them as anyone else.

'Skins' was such a great platform for young actors. They had this whole thing about getting people who weren't trained, this new generation, this new culture.

My major intention for coming to Hollywood - besides the fact that I was just enamored with acting from a very young age - was that I was tired of seeing wimpy Asian actors.

I love when actors can let go of where and how they have to do it, and just that we do it. That we are flawed and human, and don't worry about how we look or who we are, or that it seems too old of a character if we're still young.

When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.

The crossover wasn't happening. TV actors were TV actors, and film and stage actors were a whole different thing. And now there's just a lot of crossover.

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.

But I think there are more good young actors now than ever. It's a medium that everyone wants to be connected with - it is such a hip medium going into the 21st century.

Both the old and young Karamakates are portrayed by indigenous men, neither of them professional actors. The old shaman is played by Antonio Bolivar Salvador.

My heroes are Bill Murray and Dustin Hoffman. Those are the two actors that both do comedies and dramas, seamlessly. Also John C. Reilly and Philip Seymour Hoffman. They're all just great actors, neither comedic nor dramatic. They're just great actors.

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 remember all the kids picking their chosen career paths and I was thinking, If I'm an actor I can be an astronaut and a policeman and a firefighter. At the time I was so young that I actually thought actors were all of those things.

I think a lot of actors, sometimes what happens I think is that actors finish a movie and they go, 'Oh my god, I'm never going to work again,' even big huge actors, and so they'll take something thinking that something else will never come along.

What impresses me is the young actors with terrific talent arriving on the scene. They'd have blown us all away in the old days. Guys like Brad Pitt.

I love young adult fantasies. While I say that, I have not seen all of the Twilight and Harry Potter movies. But I've read all of the books, and I love them. I love them because I enjoy being transported to a different world and having my imagination challenged. That's a huge part of what we do as actors. We have to imagine ourselves in a different world. And when you are in a young adult fantasy, it challenges you in the best way.

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.

I feel bad for young actors who become huge stars too quickly, because you haven't had a chance to practice your craft a lot.

There's something really special for a young person to sit in an audience and discover somebody, and it's rare to do because so much of a movie's economics are based on pre-existing actors or actresses.

You can't just tell actors, especially young ones, to 'act happy' and expect them to do it. They must in some essential way be happy.

They can't make any of these talented young actors Fletch. You might as well make a movie called Chevy Chase.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

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.

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 think there are more good young actors now than ever. It's a medium that everyone wants to be connected with - it is such a hip medium going into the 21st century.

To have that normality to come back to, to totally relax and not have to deal with a lot of the pressure that's put on young actors makes it a lot easier.

Most young actors, that's all they're trying to do: Get better at acting and be able to keep doing it. And that doesn't work out for most people.

The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role. I love Peter Sellers, Alec Guinness and Gary Oldman. They tend to be British, I guess. People who really disappear and transform, I really like that.

There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.

I think all great actors - and I don't classify myself as one of them, incidentally - but I think all great actors listen well and I've learned that from a lot of the very good actors with whom I've worked - to really listen to what people say.

Indian actors, because of the format of our stories, need to be good actors, and be able to perform emotional sequences, do a bit of comedy, dance and singing, action, because all of this forms just one film. In many ways I'd say there are greater demands on Indian actors than there are on Hollywood.

I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that too.

I knew Matt Damon and Ben Affleck were really talented. As actors, they were both studly young men, and they had great writers' chops.

There are actors that are really fine actors but not good auditioners. There are really good auditioners that may not be great actors. There are great actors that are really good auditioners, too. I happen to be someone who's not a great auditioner, but usually on a set can hold my own.

The difference between working with actors that have put their time in the theater and just straight film and television actors is that you trust theater actors a lot more. You know that they're seriously more trained than anyone else because theater is the best place to grow as an actor.

When I first started acting in movies - as probably a lot of naive young actors do - I made a list of directors that I wanted to work with and sent it to my agent at the time.

There's two types of character actors. There's character actors who play all different characters. Or there's actors who always play the same part; they're just a bit funny-looking.

How often do you see young actors playing scholars? Or striving to be intellectuals, you know? It's not that often.

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 we were young people, all we ever wanted was to be good working actors. We didn't think of fame or money because, honestly, money was never part of the dream.

The younger generation forms a country of its own. It has no geographical boundaries. I've talked with young Hungarians in Budapest, with young Italians in Rome, with young Frenchmen in Paris, and with young people all over. ... These young people are going to do things. They are going to change things.

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.

Who are these people who are taking these decisions of casting only young actors in films? It is the filmmakers and the film producers. I don't know if that is what the audience wants because I really believe that masses respond to a good story.

I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.

I teach a lot of young musical theatre actors, and I notice that a lot of them say that they have a harder time connecting the classic repertoire.

Some people think all young actors should come up through the ranks of theatre. I don't necessarily think that's true.

To be honest with you, there's nothing that bores me more than sitting around with a bunch of actors talking shop. I love actors and I've got friends that are actors. They're interesting people. But for some reason, usually when it comes round to talking shop, there's a part of me that doesn't like it.

Some actors like encouragement. Some actors prefer to have pressure. And sometimes, for some actors, its better to give your comment by silence, because they are so skillful, so gifted, that they understand without talking too much.

There are many ways to be a mother. I have a lot of young actors I mentor, and my nieces and my nephews need a lot of love.

The advice that I usually give to young actors is that if you can create a character for the stage and keep that character fresh for at least 6 months that means you're doing the show eight times a week.

My career was full of struggles and dreams, disappointments and peaks and valleys. But there was no Twitter, no Facebook or TMZ. Young actors could make mistakes and not become the focus of tabloids.

You can't create chemistry. In fact, the chemistry between two actors is for people to see, sense, and judge. The only thing we can do as actors is to come on board individually because we feel the same kind of passion for a script and for a director to cast us because he feels that, as actors, we'll do justice to that part.