Quotes 101 till 120 of 218.
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In film or on stage, in reflecting life through art, an actor has a second take or another day with his or her performance if something goes wrong. Bullfighters are spies crossing into enemy lines. Any mistake, no matter how minor or trivial, is potentially fatal.
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In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
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In Kurdistan, there's a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.
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In terms of jobs, I'm an actor. There's gotta' be depth there. I'd never say yes to something just to play the hot guy. That's not what I'm interested in.
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In the beginning was the Word. Man acts it out. He is the act, not the actor.
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In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
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In the studio the director controls the actor's every move, every inflection, every expression.
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It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
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It is easier to get an actor to be a cowboy than to get a cowboy to be an actor.
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It is important to make your own stuff. Even if you are not an actor, it is important to not stop involving yourself as a creative person.
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It is so interesting when you meet an actor in real life and they look completely different.
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It might sound glib, but in a sense, as an actor I'm a journalist and a psychologist recording life and truth.
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It was funny on '24' because I'm a Scots-Canadian, and I was working with the great Scottish actor Tony Curran, and we were both playing Russian gangsters.
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It was my band. I organized the band and Dizzy was in the band. Dizzy was the first musical director with the band. Charlie Parker was in the band. But, no, no, that was my band.
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It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
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It's easy to get jaded. It's easy to get lazy. It's easy to get too self-centric, like, 'Why me? What about my needs?' It has nothing to do with that. But you see, you are the thing you are selling whether you are a director or an actor in this business. It's very tough. The town doesn't realize that its greatest resource is its people.
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It's nowhere near as intense as what I imagine an actor experiences backstage, but I feel a fluttering nervousness before a curtain goes up on a play. I mean, any play, anywhere - on Broadway or the Bowery or in a church basement.
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It's really hard because obviously people label you as a British East Asian actor. And I'm just from Salford; it's where I was born.
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It's weird because every movie that I do is always a role that reminds me of a role that 'Pac would have done. And when 'Pac did 'Juice,' he was young - probably like 21, 22 - something like that. And that's my favorite actor. I know it might be weird to say, but he was talented on screen, and that's who I studied.
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