As an actor, the second and last ones were interesting for me. Because those parts had the most change in playing someone who was both light and dark, sort of Jekyl and Hyde.
My only job as an actor is to try and understand the character and, to the best of my ability, bring this character to life.
I think if you work as an actress and are supposed as a character to be in love with some actor, then to some extent you do have to be in love with him.
Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.
I consciously decided not to be a 'London' actor. Those gangster movies made a lot of East End actors think they were movie stars. And I was very aware that they were going to go out of fashion.
I was never a part of the Actor's Studio, because two friends of mine started it in 1947 and by that time I'd gone to California.
When you're doing a play you get to go full speed ahead, all night, in front of an audience. It's a roller-coaster ride, responding to other actors, it feeds you.
Paul and I were both struggling actors. One night he would serve me in a restaurant, and the next night I would serve him. It was what out of work actors did.
I just don't think that I could be the kind of actor I want to be and not be honest with myself. Honesty is very important to me as an actor and as a person. I didn't even think about it.
Actually, I wanted to be an actor when I was two years old.
Uncle Junior is a criminal, which makes him a villain, so it makes people want to watch him. My whole life as an actor has been preparing for something like this.
A lot of American actors I work with are in character all day long. You can't talk to them. It's Method and the whole thing.
My dad's always been a famous actor, so I've grown up with that, and with the lifestyle. In a way, I think I thrive on the insecurity that comes with it. Not in my private life - I like to believe that my friendships and my relationships are strong.
I've obviously made a very nice amount of money. I have a very nice lifestyle. I get to do what I love. Very few actors get to do that, and even fewer are lucky enough to work steadily for 24 years.
Actors have this amazing skill - we bond quite quickly but equally we move on quite quickly. There's nothing particularly cold or capricious about it - we're troubadours and lead a troubadour's lifestyle.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.
There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.
Even in the things that look most frivolous there has to be the threat of something quite painful to make the comedy work. I suppose the play of mine that's best know is NOISES OFF, which everyone thinks is a simple farce about actors making fools of themselves. But I think it makes people laugh because everyone is terrified inside themselves of having some kind of breakdown, of being unable to go on. When people laugh at that play, they're laughing at a surrogate version of the disaster which might occur to them.
I think actors are brave souls that have to use parts of themselves that I'm just not comfortable doing anymore.
I have always been a martial artist by choice, an actor by profession, but above all, am actualising myself to be an artist of life.
I'm a dog person, I've had dogs all my life. But you see, it's not really a dog. It's more like a little robot. It's an actor. It displays no emotion whatsoever. I swear that dog doesn't know any of us even though we've done five seasons of Frasier.
Critics should be to actors what ornithologists are to birds: they can write all they want, but it shouldn't affect them.
I was mainly a stage actor. I found film acting mechanical, because it was so technical - there was so much technique with the lamps and the movements of the camera.
As an actor I worked for seven years with a community theater company based in London. We used improvisation techniques to take stories to young people who wouldn't normally have access to them - in prisons, hospitals, young offender's units, youth clubs and housing estates.
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