In life we listen to other people. Listen with varying degrees of concentration and attention, right? Actors must learn to listen in a different way.
I was born an ordinary actor. I will die an ordinary actor. But I've persisted.
Don't go so deep in yourself that you no longer exist for your partner and for the character and for the play.
You must be so thoroughly immersed in the given circumstances of the play, then you decide what it is at any given moment what that the actor wants.
In the given circumstances you must be rooted in the play. Do not depart from the play. Don't cut yourself off from your partner in the scene, or partners.
The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.
I have taken film-work that has been a little more cliché-written, to support myself and my family, and that's a whole kind of other challenge. It's like chopping wood: You've got to take what you can get and bless what withstands you. But in theatre! There's enough great theatre that you can find something interesting!
You'll never see any two good actors approach a role in the same way.
All art is autobiographical - if it's not, it's not going to quicken on-stage, and it's not going to come alive.
Gratuitous cruelty borders on the pathological, psychotic and that becomes uninteresting because there is no choice.
When you're playing a character who's cruel, look for the places where he's kind. When you're playing a character who is unhappy, look for the places where he has a glint of merriment.
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