What is the main problem of the actor? It is to keep the audience awake, and not let them go to sleep, then wake up and go home feeling they've wasted their money.

I don't know what is better than the work that is given to the actor-to teach the human heart the knowledge of itself.

In spite of a heavy disguise, a few days' growth on my face, dark glasses, a beret and one of William's jackets that fitted me not at all, as I emerged from a hotel in Lecce, a young fisherman pointed me out to his friends and said "Lavrenche Olivaire." It was not all that amazing; if you're not known in Italy, you're not known anywhere.

No matter how well you perform, there's always somebody of intelligent opinion who thinks it's lousy.

[May 1958, on playing Macbeth at age 30 and age 48] When you're a young man, Macbeth is a character part. When you're older, it's a straight part.

You must have - besides intuition and sensitivity - a cutting edge that allows you to reach what you need. Also, you have to know life - bastards included - and it takes a bit of one to know one, don't you think?

The humility to prepare and the self-confidence to bring it off.