I think when someone becomes an actor, people say, Aw, you could see it in him when he was little. But I think you can see that quality in every little kid.
What's the classical moment that every actor or actress deals with? A tragic thing. They get that blank, faraway look in their eyes. But in life, it's not that way.
After 9/11 and the impending actors' strike of a few years ago, roles dried up for everyone.
The mug is a tool. My ace in the hole. To have looks is the bonus on top of what motivates me to be an actor. Not to realize they're an asset would be counterproductive to the cause; they serve the common good.
I do this profession. I'm an actor. And it is, for me, an opportunity to meet people.
The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.
The only thing I haven't done as an actor, other than Thai puppet theater somewhere, is act on a Broadway stage.
When actors get pigeonholed, that's their own doing to a large degree. Because if you do something that people like, obviously they're going to ask you to do it again. It's up to you to say no. If you're that insecure about working, you'll probably do what you're known to do.
You know, whatever happens between the two of us that's created when we come together as actors is not something I think we can explain.
I became an actor by accident.
You've got to have a sense of different audiences. I'm a kind of performer manque - I come from a long line of failed actors!
I've always felt that I would rather see an actor, writer, or musician's work, rather than actually know the person. If you know too much about an artist, it somehow lessens their ability to do their work as well.
For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.
I pick out young people and teach them in less time than it would take me to alter the methods of people from the boards, and I get actors who look the parts they have to fill.
Actor's life is very long.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
The role of Rimbaud is one of the most important roles to play for a young actor.
I think I'm an actor. You can hire me. I can do a good job. But you also have to get lucky now and then. Every film-maker knows how hard it is to do a good film. You have to just make many, and see how lucky you get.
It took me a long time to find out that I was born to be an actor. It was the last thing on my list, although my list was very small. I didn't know what to do. But kids weren't supposed to know what to do back then; we were all cute and we'd find out what we'd do later in life.
Well, of course, every actor's limited, and I am the first one to admit it, in all honesty, when I think that I've hit the wall a bit. I'm not ashamed at all, I think it's a process that you have to go through. That's how you learn.
I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.
I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.
On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.
People imagine that actors are being offered everything and you are not. So things come in and sometimes there are things that I want and can't get a meeting on, or go to a different actors.
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