Quotes About Actors

We live like actors in a play who are given only one line at a time, going through the motions without understanding the full story. But when you get in touch with your soul, you see the whole script for the drama.

I have never had trouble with any actor being able to visualise things. They are amazing. As long as you have your monster head on a long stick, so you can hold it up there and you can wave it around and let them see it and explain it to them, they are just great.

I like to direct landscapes just as I like to direct actors and animals.

Growing economies are built by billions of actors behaving according to their own interests, coordinated through institutions that no one in particular created. Realizing this requires humility, a trait that is in short supply among would-be dictators, politicians, and bureaucrats, which is precisely why these groups are the proven enemies of prosperity in all times and places.

In Hollywood, we're always looking for the next big thing that will help us feel fulfilled. As actors, we're always trying to be someone else. Things like therapy help us learn how to be ourselves. Sometimes.

I know so many amazing actors who don't get work... and then there are a bunch of real duds that work all the time. The industry is just not fair in that way.

It's not about the actors, though, Peter. That's the thing. It's about the writing.

Difficult for actors to extemporise in nineteenth-century English. Except for Robert Hardy and Elizabeth Spriggs, who speak that way anyway.

There's a very small group of elite actresses who are my age, who people want to work with. It's not easy to get a good job with good actors.

My father comes from a generation of film that actors my age don't even know about, which is really sad.

Oh, holy God, blessed were the actors—I was going to be somebody new.

It is not the absence of professional actors that is, historically, the hallmark of social realism nor of the Italian film. Rather, it is specifically the rejection of the star concept and the casual mixing of professionals and of those who just act occasionally. It is important to avoid casting the professional in the role for which he is known. The public should not be burdened with any preconceptions.

It is clear to what an extent this neorealism differs from the formal concept which consists of decking out a formal story with touches of reality. As for the technique, properly so called, Ladri di Biciclette, like a lot of other films, was shot in the street with nonprofessional actors but its true merit lies elsewhere: in not betraying the essence of things, in allowing them first of all to exist for their own sakes, freely; it is in loving them in their singular individuality.

As more actors gained access to the design process, a wider range of valuative considerations would inform technical choices. These formal changes would result in new technical designs and new ways of achieving the efficiencies that characterize modern technological activity. Whether

I worked on a weekly one-hour show live from Los Angeles called 'The Dixie Boat Show.' We only had one camera, so there was a lot of panning because it was always on, and anything that went wrong, from actors fluffing their lines to sets falling down in mid-scene, you let it go by.

Theatre is all about the process and the sense of community that is created. You have weeks of rehearsal, time to explore your character and get to know the other actors. There is opportunity to try off-the-wall ideas, to find layers and nuance over weeks. You become like a second family with your cast.

Every two weeks on 'Doctor Who,' the set is completely different, the world is different and there are new actors coming in. So, it's constantly surprising, and it's a pressure that you relish, actually.

Before I start directing a show, I try to spend a few weeks hanging around the set, getting to know the crew and talking to the actors about how they like to work. Who is fussy? Who is left-handed? Who wants to go home early, and who is the perfectionist?

It is hard to get good actors who also do television, ads and films. Theatre requires six weeks of rehearsal for a play.

We shot on location in our very first weeks, in our very first shows. I would like to go on location again, Hawaii would be good!! But normally, we tape five days a week in the studio starting at about 8:00 a.m. and continuing until about 8:00 p.m.

I'm sure lots of actors and creative people go through this, where you have some weeks where it's all going according to plan and some weeks where you're super frustrated.

What I always loved about theater is that that's an experience that a company of actors just sinks itself into for weeks, and you really get to work on the material, and by the time you're in front of an audience, you really own it.

Actors, you have to wait for people to give you work, or you have to make your own stuff. But standup, I could just say, 'I want to do standup in 30 minutes,' and I can go do standup. Or I could just say, 'I want to do standup in a few weeks in this city.'

When you're working on a film, it's not theater; you don't have a few weeks of rehearsal. A lot of times you are showing up on set, and you've never been to the place; you've never met the other actors you're working with.