Quotes About Actor

I'm sure every film it's going to be like, 'Okay, this is the scene where your shirt gets ripped off.' I'll never be able to keep my shirt on.

It's okay to take yourself too seriously if you're a serious actor and you've got the scrubs on. And then with me, it's kind of like, well, I'm a comedian, I'm making fun of everybody and everything. And I'm making fun of myself. I'm having fun making fun of and for other people.

I didn't become an actor until I was an old man of 28 or 29. I declared to the world that I was an actor. Nobody heard me, but I did declare it.

I have an older brother who is an actor as well.

I get very excited when I see Govinda on-screen. I love him. What a great actor, there is no better actor than him in the country.

I'd like to be the romantic lead one day, but I've got to grow my hair first.

It's an actor's dream to only have one line, and people like him, so I'm really lucky.

One of the things I enjoyed the most is just working as an actor.

I think my experience as an actor helps me to write anything. It certainly helped me to write 'August Osage County.' It helps me to write any play that I'm working on because I think one of the things I do well is write good roles for actors.

I'm analytical as an actor, and one of the things Quentin did was free me from that.

I think there has only been one time in my entire career that I've ever gone back to shoot a scene. And it was a scene that, when we were shooting it, we knew that it wasn't working. We knew there was a disagreement between the actor and director. So, we went back.

The one time I was an actor, it happened to be in a globally dominant juggernaut. That was lucky.

There's always the ongoing actor frustration of finding the great role to do next. I don't go to work a lot. I wait as long as I can until the money runs out or a great part comes along.

Now my son Travis wants to finish all of his schooling online and be a full-time actor. I said, 'Hey, it's not all riding bicycles and egging cars and houses. Why don't you go finish the seventh grade, and we'll talk about it later.'

I would never blame an actor for taking on a role. The only time that I think I have to question why someone's doing something is when they're either mocking or trivializing the events that occurred or making it more sensational than it was.

You study all your life, you work really hard to do your best work onstage and onscreen, and then you make your best money playing an ant.

I sort of fell in love with it when I was in high school doing theater. And so, as sometimes happens when kids - they graduate high school, and people turn to them and say, 'So what are you going to do with your life?' I thought, 'Well, I like being onstage. I like being an actor.'

Charan is very hard-working and non-egoistic, given the family he comes from. He is very open to listening, and he surrenders himself completely to the director. It was lovely to work with an actor like that.

People assume because you're a comedian that you want to be an actor or that you want to be a writer too. It is a very cool kind of open-ended place to enter because I don't know if I ever really imagined myself working in a writers room or acting in that capacity.

One result of moviemaking - and a side effect of moviegoing - is familiarity. If an actor is particularly good, familiarity opens into something deeper: care, concern, identification, empathy. Yet even those concepts can feel inadequate for some actors.

I've had a lot of operations. I'm kind of like Franken-actor.

To influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of someone else's music, an actor of a part that has not been written for him.

Thought and language are to the artist instruments of an art. Vice and virtue are the artist's materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feelings, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectators, and not life, that art really mirrors.

In fact, he was dressed for the character of 'Jonas the Graveless, or the Corpse-Snatcher of Chertsey Barn,' one of his most remarkable impersonations