Quotes About Actor

I know that I'm better as an actor when I'm working with a good actor. I think anytime you're working with a better actor, it makes you a better actor.

It used to be that you kind of got pigeonholed into one thing - you're either a stage actor or a TV actor or a movie actor. Today, there's a lot of crossover with film actors doing television, which never happened before, so those lines are a little bit more blurred than they used to be.

I don't want to be a luvvie actor. It took a long time for me to accept I was an actor, a professional actor, and that, actually, I make a living out of this.

The amount of preparation I saw from someone like [David] Fincher, and how aware he is of everybody else's job on the set, and how much respect he has for every aspect of the film, and every aspect of the frame - that's the type of actor I am now; it's not the type of actor I was then. But without understanding his process, and then coming to learn it later on, I would never be the actor I am now.

People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.

Do you want to be an actor, or do you want to be a celebrity? I made that decision when I went to Juilliard. I wanted to be an actor. So, if I get the opportunity to be an actor and do some cool, fun and interesting projects, I’m going to do that.

I'm Irish and very proud of being Irish, but as an actor, your extraction should be secondary, really. You should be able to embody whatever character it is, wherever the character comes from. That's always been important, for me. I'm an actor who's Irish, not an Irish actor.

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.

I watched a film with a very famous, great, great actor, I won't mention his name because everyone loves his memory, but I thought, "God he was acting a lot." Great actor, but nonstop acting. Wall to wall, fitted-carpet acting.

I'm a journeyman actor. My experience as a journeyman actor is that you have to go where the work is. I've never been the lead; I've never been in that position.

I definitely wanted to be an actor. I didn't want to be on TV, I didn't want to be famous, I didn't want to be anyone in particular; I just wanted to do it. I see young people now who look at magazines, or American Idol and their goal is to have that lifestyle - to have good handbags, or go out with cute guys from shows, or whatever. But I definitely wanted to be an actor.

The weird thing is that, with actors, filmmakers and directors, it doesn't really matter if it's Robert Downey Jr., who's one of the biggest stars in the world, when you start to work, he's a hardworking actor. At the end of the day, it doesn't matter who's a big star and who's an unknown actor from wherever. It's all about the work you do.

I have to say from an actor's perspective, to work with a director who has been an actor through most of their career is a pleasure. They generally have a very deep understanding of the process of what you're doing, of how you are building and exploring the character.

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.

It's natural for any actor that segues into directing to be an actor's director. You know how to relate to the actors.

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.

I played guitar. I've always considered myself an actor, but I wasn't making a living as an actor. So I was in a couple of folk groups that managed to keep me in underwear and burritos.

As an actor it's like, go with whatever excites you as an actor. What are you're going to invest yourself in as a character? What are you going to get into? Have a variety of characters to play.

It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.

I find it very invigorating having Ken Lonergan, who's an established, Pulitzer-nominated playwright doing Howards End, or Chris Hampton who's won an Oscar writing a TV series, or having an actor like Mark Rylance, who is probably England's leading theater actor, in the lead in Wolf Hall.

I started off doing plays as a theater actor. But I never thought of it in terms of it leading anywhere. I was just trying to be the best actor that I could be in the context of what I was doing.

Do what you want I don't care. That's the thing to say to an actor. Most people don't understand that. Not to manipulate them. That's what you say to an actor. You got a problem with the whole environment in doing that? Fine, what are we going to do to make the scene work? Now you have someone on your side. Now you have someone working with you.

I love working with the right actor, and if the right actor happens to be unknown, that should be allowed, too, I think.

'Transformers' was important and defining for me because it taught me about what kinds of movies I want to make and the kind of actor I want to be, and I have a long way to go before I become that actor.

I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.

I would like to feel that I have a range and that it's not just a matter of being a comic actor or a serious actor, because those are really artificial classifications, I think.

Life beats down and crushes our souls and theatre reminds us that we have one. At least the type of theatre that I'm interested in; that is, theatre that moves an audience. You have the opportunity to literally impact the lives of people if they work on material that has integrity. But today, most actors simply want to be famous. Well, being an actor was never supposed to be about fame and money. Being an actor is a religious calling because you've been given the ability, the gift to inspire humanity. Think about that on the way to your soap opera audition.

I started off as an actor thinking that I would be this Romeo, this dashing leading man. It turns out that I'm a character actor.

You have to get through the Hamlet hoop as a young actor. Your classical qualifications are based on the quality of your Hamlet. And then, as an older actor, you have to get through the Lear hoop. And I'm approaching the Lear hoop.

Once you start working with a particular actor, that actor becomes very present in your mind as your mind as you're writing subsequent episodes.

A lot of people are surprised to hear that an actor studied for two or three years. They take the craft for granted and wanna just wake up and be an actor.

Taxi Driver' is a movie that changed my life and made me a serious actor. Scorsese and De Niro. I give credit for anything that I've ever done as an actor.

I grew up with it. As a young actor, I was always aware of the brilliant work of Shakespeare. We studied Romeo & Juliet and Macbeth in school. As a young actor, you're always mystified and intrigued by such brilliant work. To actually have the chance to be involved in this production was a wonderful thing for me.

There's something really natural to me about being what they call in the business a "hyphenate." Being a musician-actor or writer-musician-actor.

Géza Röhrig is just incredible because he's not an actor, he's a Hungarian poet. He also happens to be a brilliant actor. He's totally unusual, the way he talks and thinks and operates isn't in the same language as you're used to from actors who've been in a lot of things before. It brings this completely bizarre and fresh, wonderful way of approaching everything that I love being around. Not where I'm, as a producer, having to interact with him as an artist, but as somebody who can stand back and admire what he's bringing to this thing that I've nurtured to create a stage for him.

It is easier to get an actor to be a cowboy than to get a cowboy to be an actor.

A magician is only an actor - an actor pretending to be a magician.

I'm going to be a better actor, or I'm going to try to be a better actor. I'm going to try to be a better musician. I'm going to be an artist instead of just this one thing.

If you really want to become an actor, but only providing that acting doesn't interfere with your golf game, political ambitions and your life, you don't want to become an actor. Not only is acting more than a part time job, it's more than a full time job. It's a full time obsession.

I never wanted to stay in one genre; I never wanted to be pigeon-holed or defined as the actor who only worked in one genre. I want to be able to work in all different genres. For me it's fun, and that's how I grow as an actor.

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.

I think I always wanted to be an actor - sounds a bit boring, doesn't it? And I pretended once that I wanted to be a vet because one of the teachers asked me and saying you want to be an actor sounds a little bit silly. And I do still feel a bit silly saying it. You feel a bit fraudulent.

My studio works in cycles. I am consistent with all of the practices, but I give attention to one part for a certain amount of time. I say, "Okay, I'm making performances," and sometimes that means I can't be making photographic works. As I'm maturing as an artist, years have passed and I feel that I'm becoming a better craftsperson in multiple fields, but that takes time. Also, because I trained as an actor, I hold this thing about how an actor prepares and therefore I try to prepare for all of my tasks.

I did not think I had what it took to be an actor, because most of the actors that I encountered were people who were very narcissistic and I thought since I lacked narcissism to become an actor because that's what it took. It was more of a social experiment for me to walk in the shoes of other people that I found interesting.

I think every actor tries to put a little bit of themselves into each character, and I think if you watch very closely, every actor has a bit of himself in every role whether they want to admit it or not.

It was hard saying goodbye to the character and harder saying goodbye to the actor. When rumours started going around that Rob Lowe might be leaving I got an email from Josh Malina asking if I'd be interested in an actor who was cheaper and not as good looking. I wrote back, "Always", and that was that.

I feel much more comfortable as a writer than an actor. I feel like I am a much better writer than I am an actor.