Quotes About Actors

There are amazing actors who're the same age as myself.

I have an act I take on the road. That's what saved me. I dont know how most actors make a living.

A lot of actors think that what we do is so important, like we're saving people's lives or something.

Take these actors who adhere to a rigid schedule. They will say they are going to do two pictures a year or three or one. Now any actor who does that is in business, not in art.

I'm scared of actors with a scheme.

Actors, I have to say, most of the time, they elevate things; they don't screw things up most of the time.

Actors are always looking for actor-proof parts. A part so good you can't screw it up!

You need good scripts to approach stars.

When you are working with actors who are secure, who have nothing really to prove, it gets a lot easier working with them.

I'm glad I got a chance to work with Demi Moore and Mark Duplass. They're so humble and down to earth, and it is overwhelming to share screen space with such mind-boggling actors.

Over a period of time, if you have a successful show, then you have a devoted audience. I feel you owe something to them. That goes for everybody - writers, camera operators, actors, studio executives, etc. Sadly, I've realized it's a responsibility that very few people live up to.

Actors devote a lot of our time and energy to the work that we do, but there shouldn't come a sense of entitlement from fans that we owe them every second of our lives.

Yes, we as actors are so appreciative of our fans, but there comes a point where, if we've been working all day, we don't owe 100 percent of ourselves to anyone, and that shouldn't be expected.

Most actors, if you ask them if they play guitar, they'll say they played guitar for 20 years, but what they really mean is they've owned a guitar for 20 years.

You need the actors to feel as much ownership of the performance and the direction of the story as you do to get the most out of everyone's potential. Part of it is just making sure we all have the same vision.

For narrative games, and also for the sake of the medium, we have to treat performance that way, as actors. You have to have a sense of ownership over it and believe that you're bringing something meaningful to it - because that's what all of the developers are doing, and that's what the story demands.

I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.

Alexis and I actually shot the very first scene of 'Gilmore Girls.' What I thought was fast was nowhere near what has become known as 'Gilmore pace.'

You know how it is in L.A. You go to restaurants at four in the afternoon, and they're packed because everyone is an actor, and no one is working.

I think everyone's different but in comedy, I try to do my scene to make the director and the other actors laugh. If I can make them laugh and we have the same sensibility, then I'm on the right page.

I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.

I'd be lying if I said Hollywood wasn't still an ambition; it's everyone's, isn't it? You're getting paid very well, you're working with great actors and great directors - who wouldn't want to be a part of that? But it's not going to break my heart if it doesn't happen. This business is about doing good work rather than how famous it makes you.

Before 1972, no actors got residuals. They just got paid. No residuals.

I was brought up the Mexican way, where actors are paid very little and every part you take is an act of faith. If people respect that, then great.