Quotes About Actor

When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.

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.

If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.

The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.

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.

You can't get an actor to do something that is beyond his range, so you have to be aware of the range of the actor and, if necessary, alter the part to suit the actor.

Are you genuine? Or just an actor? A representative? Or what it is that is represented?-In the end, you might merely be someone mimicking an actor ... Second question of conscience.

Dustin Hoffman said this one time, that if he hadn't made it as a film star, he would still be happy as a character actor because he was a character actor because of his face from day one, so he would always work in the theater.

I think that an actor who is working should be a happy actor.

Before I was an actor, I was never able to hold a job for more than 3 months for some reason. It just wouldn't hold my interest, so there was some way that I wound up quitting or getting fired from it. But being an actor is perfect, because movies usually take about three months to shoot. Then it's over and they say, 'Hey, great job!'

I don't speak out because I am an actor nor will I keep silent because I am an actor. I respect my profession, but it endows me with no special privileges; but it also does not limit me or muzzle me. I am a person and a citizen with the attendant responsibilities of voice and vote.

To me, the responsibility of an actor is to recreate humanity honestly. I never feel like an actor, I always look at it from a blue collar perspective.

Acting, music, painting... it's very subjective. So what I might think is a great actor, you might think is not a very good actor at all.

My goal as an actor was to work - to be a working actor, whether it was in theater, and, well, I didn't even consider film and television when I was in New York, but what came along, came along.

My experience as a young actor on network television was that I couldn't make it work. I was drowning as an actor.

An actor's life is the shadow of a cloud, the echo of a sound, the memory of a dream, nothing come of nothing. The finest actor does not create, he is but a translator of another man's work.

I think it’s really, really important to mix it up as an actor, to try to get as much kind of varied experience as you can, not only for your own personal growth as an actor but for the audience to keep them guessing about what you’re going to do.

I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.

To be a Dumont actor was considered to be a great honor for an actor, yet it also had its disadvantages.

I knew I wanted to be an actor, and I didn't necessarily need or want to be famous or a celebrity actor. But I wanted to be somewhere where there would be no ceiling on what I could accomplish, and I felt like if I stayed in St. Louis I might have a really great regional theater career or something, but that I wasn't going to be able to get much further than that. And it felt like New York and L.A. were the two places where you could end up being a TV star or you could end up doing regional theater, which would have been fine as well.

My closest friends are Roger Moore, who is an actor, Sean Connery, who is an actor, Terry O'Neill, who is a photographer, Johnny Gold, who was the boss of Tramp, and Leslie Bricusse, who is a composer.

I've always considered myself an actor, but I wasn't making a living as an actor.

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 don't think leave the Harry Potter franchise. Not wanting to act, yes. I think it was that stage of rebellion, really. Everyone goes through it. I thought, "I've been an actor. My parents are proud of me being an actor. I want to do something else." I wanted to join the Army, actually, or be in the Air Force, or something like that. I still wouldn't mind doing that. Obviously, it's a bit late for me now.

My tendency as an actor was to correct people, was to say, 'What if we tried it this way, what about if we tried that way?' That's terrible habit for an actor, but that's a good habit for director. So I became a director.

[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.

I don't have any great pickup lines. I was never an extrovert, so I always had to have someone meet me halfway. If she was interested, we'd come together, and if not ... When I became a movie actor and became well-known, it took care of itself. Maybe that's why I became an actor.

The thing is that I'm an actor first, and in 'Once,' I was able to be a musician and a singer as well as an actor.

The biggest challenge for me, as an actor, is to be informed, prepared and focused, at the same time. I had to just keep on working, prepping, reading and imagining, all the way through, but the biggest challenge is always to let go of all that and just be open to others. That's what we do, as actor. We play with each other and we stimulate each other, and we have to be prepared to be stimulated by the other. That's always my big challenge.

I'm still learning to be the best actor I can be, and I have a long way to go to get to the level I would like to be at. My focus is still 100% acting acting acting. Once I hit a point where I feel very comfortable as an actor - because you can never stop learning, I don't care how comfortable you get, you can never stop learning - but once I hit a point where I can get that comfort level of taking on the task of directing and having the confidence in myself to have people's respect when I give them direction, that's definitely something I want to do someday.

Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.

I think there are always actor parts, and then there are movie-star parts, and an actors always an actor until he does a movie-star part.

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.

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!

You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.

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.

If the audience knows what's behind the door and the actor does not, that's comedy. If both the audience and the actor do not know, that's mystery!

The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.

I'm not an actor, and I'll never call myself an actor. I've never thought of it as part of my life. I'll always be a singer, in my eyes.

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.

I'm not in this business to win a popularity contest, I just want to be a good actor. Well, you've failed at being a good actor. Why not try for the popularity contest?

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.

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.

As an actor, you can't say, "I'm going to try to be cool at all cost when I do this," because that's the opposite of what you need to do as an actor.

In motion pictures, the actor rules. The camera served the actor.

You always agree with other actor beforehand: Are we going to fake it or are you OK with me hitting you? I've never met an actor who doesn't want to really go there. I would be disappointed in myself if I was like "Don't hit me."