Quotes 161 till 180 of 181.
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Whatever you do, make sure you want to write more than you want to be a writer. Make sure you want to act more than you want to be an actor. That is what will sustain you.
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When a performance isn't working, it's usually because the actor is trying to do something and they're not able to express their idea very well. It's a muddled expression.
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When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'
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When an actor has money he doesn't send letters, he sends telegrams.
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When an actor has money, he doesn't send letters, but telegrams.
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When are we going to stop labeling everyone? How many times have I been referred to as 'out gay actor?' Do we say, 'out heterosexual actor' when we refer to Tom Hanks?
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When I got into this, I never thought about reviews. I never thought about what people would say about me, I was just a young guy who was excited to become a comedian and an actor, and I just wanted to get to do what I got to do.
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When I was in the business as a young performer, it was a recognised fact that when you got to 60 you were out, because there'd be a new crop of comics coming up all the time, every 10 years or so.
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When I was writing 'Withnail,' I was so busted flat that I had one lightbulb that I would carry around the house with me. I mean, really. No furniture, no money, and I was hoping to be an actor, but I could never get a job.
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When someone who is known for being comedic does something straight, it' s always 'a big breakthrough' or a 'radical departure.' Why is it no one ever says that if a straight actor does comedy? Are they presuming comedy is easier?
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When they asked Jack Benny to do something for the Actor's Orphanage - he shot both his parents and moved in.
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When you audition for shows in Hollywood, you go in, you do your scene, maybe you get an adjustment. It's sort of easy, and a lot of times it just feels sort of rote and simple. Whereas when you go to New York and you audition for plays, you walk out sweaty and intimidated and nervous and doubting yourself as an actor.
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When you're a performer, of course you want an audience, but it's very, very different from courting fame.
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While we look to the dramatist to give romance to realism, we ask of the actor to give realism to romance.
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Working with Jon Hamm was super-fun because he's a brilliant actor and he's very kind. I would hang around sets for scenes that I wasn't even in because I wanted to watch how he worked.
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You always take a little bit back with you at the end of the day. I always put a little bit of myself into the characters, too. You find parallels, points of connection, things like that. But I'm not an actor who gets so incredibly haunted by my characters that I can't come back.
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You ask any actor - they'll tell you they'd rather shoot on location because you don't have to invent the energy, the energy is there.
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You can't be a casual observer of something humorous - you have to engage, you have to find it funny for the relationship between actor and audience to work.
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You have to find it in the moment, and that's one of the challenges of being an actor - especially a film actor - is that you have to maintain these heightened emotions for long periods of time. There's no trick to it. You just have to do.
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A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.
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