Quotes About Actor

As an actor, I don't really think you find yourself. I mean, once you find yourself, I think it becomes boring and you become set in your ways. I think, as an actor I think it's not a bad thing but more of a gift. It's something you're always doing as an actor. You're adjusting constantly.

I've never trained as an actor. I've always thought I'm not a good actor. I've been told I'm not a good actor by a lot of people.

For an actor to be working at all is a kind of miracle, because most actors aren't. So it's just silly for a working actor to say, 'Oh, I don't care if anybody knows I'm gay' especially if you're a leading man. Personally, I wouldn't advise a gay leading man-type actor to come out.

I never think of an actor as a model. A model wears what you tell them to wear, that's their job. An actor is different. It's important to work with the actor because in the end that's who the audience sees and that's the success that you need.

When an actor comes to you and starts working with the script, the image of his character that you had in your mind gets substituted with an image of that particular actor. And this is the right way to go. An actor has to be absolutely truthful - this is the only thing required of him, apart from talent of course. It's very easy to understand: you need to absolutely believe in what you see.

A Guide To Recognizing Your Saints' was the first real actor-actor part I did, and I hope I to do more. Action movies are fun, but I'd be happy not to do them if there are better roles.

As an actor going into screenwriting, I was able to understand what type of dialogue feels natural. A lot of the time, as an actor, you don't have the freedom to change what your lines are, and they can often be very unnatural or difficult to portray in a real light.

I don't feel I was ever a 'famous' child actor. I was just a working actor who happened to be a kid. I was never really in a hit show until I was a teenager with West Wing playing First Daughter Zoey Bartlet. In a way, that was my saving grace - not being a star on a hit show. It kept me working and kept me grounded.

But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.

Claude Rains was what we call an actor's actor. He was very involved with himself and his performance.

I guess every character has a little bit of the actor - I guess for every character you play, the actor has to allow a little bit of their own character to show through.

TV acting is so extremely intimate, because of the peculiar involvement of the viewer with the completion or "closing" of the TV image, that the actor must achieve a great degree of spontaneous casualness that would be irrelevant in movie and lost on the stage. For the audience participates in the inner life of the TV actor as fully as in the outer life of the movie star. Technically, TV tends to be a close-up medium. The close-up that in the movie is used for shock is, on TV, a quite casual thing.

The way an actor is trained doesn't ultimately have much bearing on my work. I'm interested in the actor as artist.

Some people manage to make that transition from child actor to adult actor seamlessly. But I felt that if I spent my whole life on a film set without taking a few years to do something else, all I would ever know about was film sets.

Almost everything I learned about being an actor came from those early years at the Actor's Studio.

My casting process was slightly different and slightly interesting insofar as I knew everybody could act. That's something you've seen. You know people can. You've seen them on the screen and you think either they're a good actor or a bad actor. So that's not the point. What I wanted to do was find people who I thought would have a similar comic sensibility.

An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.

I think, when people so strongly associate an actor with a character they play - but the main feeling is I feel very happy that I've been able to play somebody that people connect so strongly to. That's overall a very good feeling. There's the sweet and the sour, I guess. It does sting a little bit. Your insecurity as an actor maybe seeps in, but ultimately I think it's a very lovely thing. It doesn't happen that often. It's mostly good, I'm fine with it.

As a working-class actor, leaving school with no qualifications, being a printer and then becoming an actor and then working with people who to a certain extent had had a leg up. I never had that advantage. It's less an artistic need to express myself and more a need to prove myself.

[Ryan Reynolds] is my favorite [ on Top Gear] - I think he's the most hilarious actor who just has not been able to catch a break in terms of being known as the most hilarious actor.

An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.

If you're a leading actor you don't work with another actor. You work with a lady.

It's the persona that makes you a leading actor. A leading actor has something extra that's fun to watch. But it isn't usually about acting.

I am a professional actor and I don't go about moralizing about what the character does. Otherwise, seriously, why be an actor? You're not making some kind of social statement. That's not what actors do. They may inadvertently do it, but it's because of the script, not the acting.

Someone I met years ago explained to me the difference between a personality and an actor, a personality being Eddie Murphy or Roseanne Barr, and an actor being Morgan Freeman and Alfre Woodard or Marlon Brando.

If I'd made it right away as an actor, I would've stopped at a certain level and stayed there, probably as a character actor.

I haven't always wanted to be an actor, no. I wasn't one of the little kids that was desperate to be an actor. I did a lot of drama and a lot of music, but it was just something for fun on the side. I was quite shy as a kid and I found a lot of freedom in performing. I never knew you could do it as a job.

I like this other world, this forgetting of myself. The actor works in order to escape, not to find himself. You become an actor by leaving yourself, and then you have to keep acting. How tragic!

What motivates every other decision artistically or technically is the acting. This is what motivates everything. Never can a camera move be incompatible with the emotion of the actor at that moment. The movement, the style, the atmosphere, everything is dictated by the actor.

As soon as I suspect a fine effect is being achieved by accident I lose interest. I am not interested...in unskilled labor. ...The scientific actor is an even worker. Any one may achieve on some rare occasion an outburst of genuine feeling, a gesture of imperishable beauty, a ringing accent of truth; but your scientific actor knows how he did it. He can repeat it again and again and again. He can be depended on.

Danny DeVito knows about the business from many different perspectives, because he is a producer and director as well as an actor. At one point we were on the set late at night and he said: 'come here I want to brush your hair'. I said 'ok'. He sat there brushing my hair and told me that his job before becoming an actor was as a hair stylist in Manhattan. I said "what?" But it is true.

That was a bizarre and unlikely event, which has misled a generation of drama students from my old drama school that dreams really do come true. I was an unemployed actor. I had been an actor for about eight years, and had worked in theater, and done a tiny bit of TV, and somehow an audition video of mine ended up on Kevin Costner's television screen, and he rang me up and invited me to fly first-class to Hollywood and be in his movie The Postman.

I don't think of an actor. I think in the character, and then I search for the actor. Usually I'm thinking without names, because they will change my idea. No big egos. If I want egos - just mine. That is enough.

The [Great] Actor is able to approach in himself a cosmic dread as large as life. He is able to go from his dread to a joy so sweet that it is without limit. Only then will the actor have direct access to the life that moves in him, which is as free as his breathing. And like his breathing, he doesn't cause it to happen. He doesn't contain it, and it doesn't contain him.

If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.

What's nice about writing and making films is that being able to see a film from the outside - from the inception through production and then completion - just informs what you're doing when you're an actor. And when you're an actor, it informs the decisions you make when you're making a film. It's using two different sides of your personality.

It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.

As an actor, it made me realize a really important lesson. I didn't have to put any spin on the ball as Rita [in Dexter]. All I had to do was speak. And there was such simplicity in that as an actor. With Debra, I was trying to put a square peg into a round hole, and it just didn't work, but in my mind, because I had to work so hard on it, I was, like, "Oh, this is acting!" But that's not acting.

Wanting to be a good actor is not good enough. You must want to be a great actor. You just have to have that.

One of my favourite sorts of actors...the rat actor. The rat actor knows his job and gets it done.

Identity is a very difficult thing in the theatre. As an actor said to me one day, 'What are we doing today?' when we were doing a workshop. And I said, 'Oh, just be yourself'. And he said to me, 'I don't know who that is, I'm an actor'. And I begin to realise in fact that we seek identity because we're told we should have one, but I wonder whether it's necessary.

Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.

So, from a very young age, my mom tells me that I wanted to be Michael J. Fox. I didn't want to be an actor. I just wanted to be Michael J. Fox for awhile. And then, I realized that he was an actor, so I pursued that.

If you want to be an artist, truly try to write what you believe, and if you write when you don't believe then you should try to become an actor.

As a young actor, I booked a movie in the U.S. I didn't speak any English at the time, so I learned my lines phonetically when I auditioned for it.

That's a true actor's nightmare: "Improvise in British sign language. Go."

While we look to the dramatist to give romance to realism, we ask of the actor to give realism to romance.

But when you're a working actor - and that's what you keep saying in your head, how blessed you are to have a job - and you are working with heavyweights, working with the best guys in TV, it's pretty cool. Exhausting, but cool.