A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.

The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.

Who am I? What will I be? Why am I here? Where am I going?

In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer. They are intertwined. A common purpose brings them together and reinforces the unbreakable bond.

In spite of my great admiration for individual splendid talents I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.

When an actor is completely absorbed by some profoundly moving objective so that he throws his whole being passionately into its execution, he reaches a state we call inspiration.

The language of the body is the key that can unlock the soul.