Guy Pearce Quotes

Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.

Australia's not so bad with me, really, people are pretty cool with me at home, but in England it feels a little bit scary.

A lot of people are going to hate me for saying this, but one of my least favorite kinds of music, or the kind of music that I feel I've so got out of my system, is musicals music.

I don't have many friends. Most of them are gay and I get on much better with women.

I really enjoy doing things that are more subtle and close to home - and literally close to home.

I've been asked to do action-oriented movies in the past and they just haven't been right for me.

A lot of action characters are a little bit too serious as well. They take themselves a bit too seriously, which I don't find particularly interesting, whereas I like the fact that there was at least some humor in this because really it's a piece of entertainment.

The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.

I can be completely indulgent and spend as many hours and days or weeks as I like on one thing. Writing music and sitting in my studio, just pottering with ideas, it's a lot more personal and creative for me, I don't feel restricted.

Just because there are things I don't remember, doesn't mean my actions are meaningless. The whole world doesn't just disappear when you close your eyes, does it?

There's something about the American sensibility that kind of hails people in the public eye. You have a star system. You have that kind of thing where you say, "Good on you for doing that."

The first thing I need to get sorted out before I can then move forward, before I can feel any confidence whatsoever, is the voice.

Memory isn't the facts, it's just a record you keep to yourself. With the facts, memory is useless.

I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.

If something doesn't come out of your mouth right, you've got to acknowledge the fact that you're trying to deliver an honest performance. If it doesn't' come out of your mouth correctly, then it's not going to work.

If it's a great role or a great film, then you're happy to be a part of it.

I grew up with such an affinity to cats. I adore the way that they think and operate.

I'm constantly trying to be as original as I can.

The funny thing is, because I was doing a lot of theater when I was a kid, and a lot of that was musical theater, as I got older I became more interested in acting as a separate entity and music as a separate entity, like songwriting and production and recording and playing music.

Ultimately the most challenging thing, always, is to just be convincing

Working on a studio picture, I can't help but be aware of all the political stuff that's going on. I have to work to be able to survive, in a sense.

When I go to a movie, I'm always thrilled if I've seen an actor do something and I didn't realize until the end of the movie that that was that person. I love that.

Choosing work is an interesting thing. It's a balance between what's available and what you've always got in the back of your mind - that awful, strange thing that seems to have to exist in this industry, of what will give you "exposure."

The thrill of coming home has never changed.

English is no problem for me because I am actually English. My whole family are English; I was brought up listening to various forms of the English accent.

Because in Australia we're so inundated with American culture, television, this that and the other, everyone in Australia can do an American accent. It's just second nature.

To work in America or other places is more about curiosity, because I'm dealing with cultures and sensibilities that I don't really know. So I'm having to sort of investigate them, which I'm fascinated in, but it comes from a place of curiosity rather than a real need to get something out of my system.

If I'm exhausted, physically and particularly emotionally, I can't tell what's good and I can't tell what's bad and I'm useless.

There's many more films being made in America than there are in Australia. You make four hundred and fifty films a year, we make twenty-five.

I don't believe in God, but the thing I do believe in is that we're all connected.

I don't want to make a habit of just playing small roles, because I really enjoy the process of being part of a film and staying on it for the length of time that everybody else is as well.

Most of the time when I'm in Australia I'm not really working, it seems. I'm just at home, getting on with renovating my house or writing music or whatever. So I get back to doing all the stuff that I naturally do. Whereas if I'm away working, that's all there is to do, is to concentrate on the work.

You can have a great time on a film and the chemistry can seem great but then you look at the finished film and it just doesn't quite gel, something doesn't quite work.

I had to put the word out to people that I didn't cost a fortune, and I was prepared to work at home. Because that's the assumption: "Well, he lives in America now, we can't afford him, we won't bother."

I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.

I don't enjoy movies in 3D. I find I can't engage with the story as well.

I find it really difficult to even articulate things that I've done in the past. I express myself through the characters that I play, not through the articulation of them later.

It's funny, though, with films, because you can incorporate a variety of elements, and sometimes that can work for you and sometimes I think it can work against you.

I don't feel I'm making a conscious effort to go more commercial.

You meet these people who are confident all the time. They annoy me. And I wonder if it's because I'm envious or if it's because they're shallow.

The majority of people who join law enforcement are doing it for good, moral reasons, but then there are the few who get through, where you go, 'Whoa, hold on a second. What's this guy doing here?'

I am geared towards communicating on a female level.

There's a sense of humor within the Australian culture that prevails when one is in a rather difficult situation.

I'm never there enough to really keep up with what's going on in the Australian film industry. I just try and be part of it as much as I can.

I think a lot of actors take on fun roles and then they're lazy or flippant with them. I just can't do that.

You would think that with ten super-famous people in one movie, it's gonna be ten times more popular or viewed, but on some level, they can cancel each other out.

I think when people are repressing things, or burying things, that can manifest in all sorts of ways.

I think as an actor, or any artist, you move with your moods and you express what's going on for you, and you answer to that voice within that's calling for particular things.