Quotes 1921 till 1940 of 25240.
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Acting school was summer camp, and I needed concentration camp. I had so many different ideas swirling between culture and how to tie things together.
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Acting, I started when I was six and a half years-old, on Broadway with Kurt Weill.
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Action and reaction, ebb and flow, trial and error, change - this is the rhythm of living. Out of our over-confidence, fear; out of our fear, clearer vision, fresh hope. And out of hope, progress.
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Action fiction is driven more by what than by who. Put that ticking nuclear suitcase under Manhattan, and it's relatively easy to create suspense. Literary fiction is driven more by who than by what.
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Action hangs, as it were, ''dissolved'' in speech, in thoughts whereof speech is the shadow; and precipitates itself therefrom. The kind of speech in a man betokens the kind of action you will get from him.
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Action in war is like movement in a resistant element. Just as the simplest and most natural of movements, walking, cannot easily be performed in water, so in war it is difficult for normal efforts to achieve even moderate results.
On War (1832) Ch. 7, as translated by Michael Howard and Peter P -
Action is at bottom a swinging and flailing of the arms to regain one's balance and keep afloat.
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Action is consolatory. It is the enemy of thought and the friend of flattering illusions.
Nostromo -
Action is greater than writing. A good man is a nobler object of contemplation than a great author. There are but two things worth living for: to do what is worthy of being written; and to write what is worthy of being read; and the
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Action is the highest perfection and drawing forth of the utmost power, vigor, and activity of man's nature.
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Action seems to follow feeling, but really action and feeling go together; and by regulating the action, which is under the more direct control of the will, we can indirectly regulate the feeling, which is not.
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Action-adventure, that genre, only works for me if you can care about the characters. If the hero's not taking some kind of a journey, then there are no stakes - and no stakes, then you don't care if he lives or dies, wins or loses.
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Activate yourself to duty by remembering your position, who you are, and what you have obliged yourself to be.
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Actors are always nervous about not only hurting each other, but maybe perhaps hitting each other's face and ending one's career.
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Actors ought to be larger than life. You come across quite enough ordinary, nondescript people in daily life and I don't see why you should be subjected to them on the stage too.
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Actors will always tell you it's more fun playing bad guys. A lot of the time, it's criminals who are the people who don't care. There's something extraordinarily seductive about the guy who doesn't care, and to play that guy is terribly empowering, because you don't have to worry about the consequences of your actions.
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Actors, we like stories, we like storytelling, we love being a part of the story, and if you give us a story that's interesting then we'll want to do it.
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Actresses can get outrageously precious about the way they look. That's not what life's about. If you starve yourself to the point where your brain cells shrivel, you will never do good work. And if you're overly conscious of your arms flapping in the wind, how can you look the other actor in the eye to respond to them?
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Actual aristocracy cannot be abolished by any law: all the law can do is decree how it is to be imparted and who is to acquire it.
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Actually I like working kind of fast, because if you got it, why bother doing it over and over?
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