It's not enough to identify the Superobjective intellectually; you have to justify it, to find the emotional drive behind it. You need your own specific interpretation of the superobjective so that every time you think of it, it makes you emotional and drives you into action.

You can't play an emotional condition; you have an emotional condition, and because you have that condition, you try to overcome it with active doings (intentions).

You must create the character's internal life. What do I mean by internal life? I mean the thoughts, feelings, memories, and inner decisions that may not be spoken. When we look into the eyes of actors giving fully realized performances, we can see them thinking. We're interested in what they're experiencing that may never be spoken, that quality of nonverbal expression - which is as much a part of the characters as breathing and as real as what they say and do. This is their internal life. It helps us believe in the characters and care about them.

Acting is a spiritual quest to touch human beings.

I call this book The Intent to Live because great actors don't seem to be acting, they seem to be actually living.

It's not enough to identify the Superobjective intellectually; you have to justify it, to find the emotional drive behind it. You need your own specific interpretation of the superobjective so that every time you think of it, it makes you emotional and drives you into action.

Everything I'm teaching you about acting has one aim only: to fire you up emotionally and behaviorally so that you can give a vivid, involving, and memorable performance.