On the stage one must not confuse the nature of a personality with the naturalness of a person.
The art of an actress is sublimated sexuality. But off the stage the fire must be able to reconvert the steam into body.
The invention of film has given our generation the dubious advantage of watching our acting heroes deteriorate before our eyes.
Sponsors obviously care more about a ninety-second commercial and want to pay you more than any guest star gets for a ninety-minute acting performance.
We use important words too frequently and they lose value; for instance, charm and great. An actor or musician often is proclaimedgreat when we really mean he is outstanding.
... actresses require protection in their art from blind abuse, from savage criticism. Their work is their religion, if they are seeking the best in their art, and to abuse that faith is to rob them, to dishonor them.
The actor who lets the dust accumulate on his Ibsen, his Shakspere [sic], and his Bible, but pores greedily over every little column of theatrical news, is a lost soul.
I like acting; I like being lost in the creative process.
Especially when it comes to something like the awards, I find it kind of baffling that 'True Blood' has been snubbed so many times given the incredible range of acting they have on there; I mean, incredible storytelling and the incredible production values.
Often, when there is a conflict between parent and child, at its very hub is an expectation that the child should be acting differently. Sometimes these expectations run counter what is known about children's growth. They stem from remembering oneself, but usually at a slightly older age.
The requirements of the theatre are very great--a strong constitution, energy and unflagging purpose, charm of feature, these alone do not necessarily mean anything, and they must not be relied upon as assurances of an easy conquest of the public heart. It is not only a question of fitness for the work, but of long years of most diligent effort to master the technique of the theatre, and to develop whatever of the art instinct we may possess upon the simplest, broadest, and most human lines.
It is not enough to ask, 'Will my act harm other people?' Even if the answer is No, my act may still be wrong, because of its effects on other people. I should ask, 'Will my act be one of a set of acts that will together harm other people?' The answer may be Yes. And the harm to others may be great. If this is so, I may be acting very wrongly, like the Harmless Torturers.
When I first began acting, I assumed an intellectual responsibility attached to my profession, which I had accepted for a long time. My father taught me that an actor had to have a social and political conscience, and that the work that he does has to reflect from that.
When you write a character and their dialogue, you can't help imagining how you would be acting if you were them. You kind of have to relate to all of them. It's the most personal thing I've ever done.
The actual time you're acting is miniscule compared to the time you're getting ready to do the work. The big difference on series television is, there's not a lot of hanging-out time. You're pumping those pages out, you're doing six, seven, eight pages a day. And I like that pace.
Fighting is not internal, but it can be very spiritual. Everything acting is internal. One of my problems in making the transition is pulling back, but I'm working on it.
Be sure that the reason you are in the business is not to be a star, but because you love the craft of acting. If you have a real passion for it and acting is what you want to do every day, you are much more likely to be successful. If being a star is your primary goal, you may end up being very disappointed.
Acting is not about competing. Acting is about cooperating. Acting is about collaboration. It's about your utility, your usefulness, your capacity to add to the work that has already been done and will be done. You're just part of a team. I never feel competitive about acting.
I was never nervous directing. Not once. I'm more nervous acting. I'm far more nervous on set, before I say my lines, than I ever have been, as a director.
My life is about politics, a lot of about music, and a lot about things other than acting. I like traveling the world. But, what makes me want to stay in this business and keep doing this are movies when it's a true labor of love.
I think I'm a better director than I ever was an actor. I'd love to go back to acting, but nobody seems to want me.
I'm not interested in being famous or anything, but I'm definitely interested in expressing emotions, and acting and filmmaking can be great outlets for that. Filmmaking is an incredible art.
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.
That's one of the challenges of acting. You can't expect that you're going to be successful, but you've got to put your heart and everything you have into it. Look at a guy like Ian McKellen, who is eighty or whatever, and he's just loving his work and you can see that in the work. That defines what type of actor you are. And what kind of people want to work with you. And whether you can do this job for a long, long time.
For modeling, I was always creating characters. I dress like a tomboy. So, when I'd go into a shoot, there'd be all these dresses, and I'd say to myself, 'Okay, this isn't me. It's somebody else. So, who is this person?' Acting is the next level of that.
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