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She ran the gamut of emotions from A to B.
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She represents the un-vowed aspiration of the male human being, his potential infidelity — and infidelity of a very special kind, which would lead him to the opposite of his wife, to the ”woman of wax” whom he could model at will, make and unmake in any way he wished, even unto death.
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She runs the gamut of emotions from A to B.
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Some scenes you juggle two balls, some scenes you juggle three balls, some scenes you can juggle five balls. The key is always to speak in your own voice. Speak the truth. That’s Acting 101. Then you start putting layers on top of that. [On his acting techniques]
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Somebody told me I should put a pebble in my mouth to cure my stuttering. Well, I tried it, and during a scene I swallowed the pebble. That was the end of that.
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Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. But if you mouth it, as many of our players do, I had as lief the town crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use it gently, for in the very torrent, tempest, and (as I may say) the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness.
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Strong reasons make strong actions.
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Such is an actor’s life. We must ride the waves of every film, barfing occasionally, yet maintain our dignity, even as the bulk of our Herculean efforts are keel-hauled before our very eyes. [On filming MacHale’s Navy]
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Talk to them about things they don’t know. Try to give them an inferiority complex. If the actress is beautiful, screw her. If she isn’t, present her with a valuable painting she will not understand. If they insist on being boring, kick their asses or twist their noses. And that’s about all there is to it.
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That’s what acting is about, … Funny wigs and voices, that’s what we do.
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The actor becomes an emotional athlete. The process is painful — my personal life suffers.
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The actor is in, the capacity of a steward to every living muse, and of an executor to every departed one: the poet digs up the ore; he sifts it from the dross, refines and purifies it for the mint; the actor sets the stamp upon it, and makes it, current in the world.
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The actor searches vainly for the sound of a vanished tradition, and critic and audience follow suit. We have lost all sense of ritual and ceremony — whether it be connected with Christmas, birthdays or funerals — but the words remain with us and old impulses stir in the marrow. We feel we should have rituals, we should do something about getting them and we blame the artists for not finding them for us. So the artist sometimes attempts to find new rituals with only his imagination as his source: he imitates the outer form of ceremonies, pagan or baroque, unfortunately adding his own trapping — the result is rarely convincing. And after the years and years of weaker and waterier imitations we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.
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The actor who slapped you on the stage waits behind the curtain to congratulate you on your performance Sai Baba
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The aim (of education) must be the training of independently acting and thinking individuals who, however, can see in the service to the community their highest life achievement.
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The art of acting consists in keeping people from coughing .
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The art of acting is to be other than what you are.
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The best actors do not let the wheels show.
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The better the actor the more stupid he is.
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The children weren’t acting right.
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