Quotes About Actors

The interesting thing with child actors is that kids are natural actors. They're wonderful actors, and most kids are acting all the time. They're imagining they're out in the yard playing. They're imagining that things happened, and they can get very vivid.

To go into more specifics regarding actors, whether they're from Korea or the U.S., all actors know if they are loved by the director. When they feel that love from the director, they respond by giving a great performance on camera. Also, everyone on set - the crew, the actors - they were aware of the film's message and its broad theme, so these big issues were never discussed on set.

There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.

There are a lot of actors in the world, there's a small number that actually get to work as actors, and there is a tiny group of actors that are celebrated in the way that I have been. I feel incredibly lucky.

Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.

Actors only have our bodies, voices, and the text. So I think actors need to have a fit and in-tune body. I was always very disciplined in wanting to have that. Thats one of my favorite things - playing a role with a physical requirement.

Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.

People imagine that actors are being offered everything and you are not. So things come in and sometimes there are things that I want and can't get a meeting on, or go to a different actors.

What's not to look forward to? It's like all the actors in all of the films. It's difficult to get Martin Freeman and I in a room together. Imagine what it's like to get myself, Chris Hemsworth, Robert Downey Jr., Elizabeth Olsen... these extraordinary actors who all have careers outside the Marvel Universe.

I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

I don't like the actors to work together beforehand. I trust my intuition, and I like when the actors are the same.

I already love acting and I love actors, so being able to communicate with actors and to bring performances out of them, and to tell a story and aid them, is really exciting for me.

Actors are loved because they are unoriginal. Actors stick to their script. The unoriginal man is loved by the mediocrity because this kind of artistic expression is something to which the merest five-eighth can climb.

I had this sort of idolatry for certain actors who preceded me, people who inspired me, so I'm honored to be that way for young actors.

There are so many young talented actors today whose work I respect and admire - Ryan Gosling is probably primary among them. I take inspiration from so many amazing actors.

Effective leaders at a high level tend to be skilled actors. Franklin Roosevelt is said to have to quipped, on being introduced to Orson Welles, that they were the two greatest actors in America. The story may be apocryphal, but the message rings true.

I'm sure there are actors out there who work with other actors on a consistent basis - I am not one of them.

It's very rare that you get a part that you actually like. People have a misconception, whether it be because actors lie or because you're reading interviews from giantly, massively famous actors, but you don't just get offered parts, all the time. You actually have to work to get them.

I know from teaching, that actors want to act. Even the subtlest actors can do a little too much.

Period films to me are very often alienating to the audience. There's very often a formality. A staunchy quality to them that comes from the misenscene. It also comes from the performances of the actors, because they're acting Victorian which really means that they're just acting the way they've seen previous actors act Victorian.

People like to think that actors are terribly worried about ghosts of other actors in the parts they play. But you just have to get on with it.

I think I'm good with actors. I like directing actors. I also like to show up and just do an acting gig. Where I'm just a hired gun, I don't have to have an opinion on anything.I never got involved in all this stuff because I wanted to control stuff; I got involved in writing and producing because I wasn't getting interesting acting gigs. In a way I'm grateful that I didn't get interesting roles, because it made me pull my finger out and do some work.

I think there are all sorts of ways of turning into an actor, and there are a vast variety of different actors. You know, you interview plenty of actors and you know they come at it from a different direction and acting means different things to a lot of people.

The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.

Heath Ledger's performance in The Dark Knight quite simply changed the game. He raised the bar not just for actors in superhero films, but young actors everywhere; for me. His performance was dark, anarchic, dizzying, free, and totally, thrillingly, dangerous.

Generally speaking, actors are allowed NO input. Actors are dumb.

It's very hard to find a good child actor. There are a lot of child actors out there, especially in America, and they're cute kids, but most child actors appear on sitcoms where their main role is to be cute and make funny little remarks.

A lot of British actors will look at America as a land of opportunity. In England, there's such a small pool of working actors of color. There's such a small amount of work that is actually produced in the first place.

I like young actors because they're so unspoiled, not like some of those actors who are about half an hour into their fifteen minutes of fame by the time they get to me.

I've always thought that actors wanted to be pop musicians and pop musicians wanted to be actors.

Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

From a very young age, I wanted to get up on stage whenever I went to the theatre - the actors just seemed to be having so much fun. One of my worries about theatre, in fact, is that the actors are quite often having more fun than the audience.

I always felt like I could be funny, but there was a part of me that always judged actors so harshly... I thought all actors were dumb-that they must have serious emotional problems. Even if they don't, that's the perception I had of them. I didn't want anyone to see me that way.

Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.

I ask my assistants if they're retarded all the time. When the camera is on you, of course, actors have the ability to make it real. For me, if I'm not talking, it is a problem. I have so much more respect for actors after being in front of the camera, and I realize that the hardest part is when you're not talking. Listening is harder than just acting. Listening is the hardest part.

I think there's that weird bastardization where musical theatre actors are treated as almost like vaudevillians or circus performers - that we're somehow not good actors because we sing and dance.

I think we can't be naive in dealing with the Russians or dealing with the Syrians. But at the same time, I think we could try to encourage - and I think this is what diplomacy should do - encourage the self-interests of all parties to believe that it is in their best interest to get evil actors or rogue actors such as Syria or Iran, if you try to have less belligerent and less bellicose behavior.

Writers and painters have a medium that can foster self-effacements. Actors haven't. An actor can't hide himself behind paper or canvas. If you're not there your art's not there. That's why we actors are often such self-centered objects.

I like to see people put themselves into films, which is part of the reason why I love Woody Allen films so much - I believe his actors' work. I have a feeling that many actors in his films are similar to their characters, and I like that.

I don't think Indian actors are good. A couple of them are, like Anupam Kher, but not many are there like him in the industry. There are thousand of actors and actresses in the industry, but you can count on hand how many of them are really good; the rest of them are just pretty faces.

I'm sure there are directors who don't like to work with actors and don't know how to be sensitive to actors.

Actors are like kids, they need to play a little bit. And that's the nature of their job, they need to shake off some energy and then you as the director get them back on track. When you do loosen up the reins, you get some amazing things, but you have to wring out the performances for every last good drop.

A lot of the people I'm working with are not actors, or it's their first time in a movie. I'm not trying to shape performances, coax performances out of them. It's more like I want to put them in situations that naturally work or allow them to be themselves. If it's not happening, I'll just completely switch it up, rather than trying to make it work.

As a runner on a film, you are the lowest of the low, and yet you have incredible access to everyone. I can totally imagine that for actors in the middle of a Hollywood bubble, all they really want is a sense of normality, and that gopher can be a tap for that.

Acting can truly take a toll on your nerves. I mean we have to be larger than life. Worse, I've seen actors acting off the sets too.

Let's be honest, any show will live or die based on how good the characters are, how good the actors are, how complicated the relationships are, how grounded they are and how much heart they have.

What impresses me is the young actors with terrific talent arriving on the scene. They'd have blown us all away in the old days. Guys like Brad Pitt.

I try to build relationships with the actors, at least to some degree beforehand, whether it's phone calls because I'm from Seattle or all of us meeting in person at some point, which is ideal if at all possible before we get on set together.