Esme Creed-Miles Quotes

As an actor, my body is my tool to flesh out the roles I play.

Some actors get by with behaving, not acting. You've got to sell the effect. I act more in the 'Nightmare' movies because it's not like me. I'm acting, not reacting.

Good actors, you always know what they're thinking. That's why they're good actors.

When I am dubbing for my character, if I laugh at the figure on the screen, I know I have done well.

Timing is a big part of stunt work and fighting scenes. It's something you learn in WWE, especially when they are really character-driven fights.

I was always under the impression that acting is an innate gift. One of the first things I heard them say at Koothu-P-Pattarai was that actors should realise the art of acting through their training.

For me, actors have to have a character, an aura, body language. They're not models. They used to call actors models. But I want them to participate in the film.

I feel whatever an actor does on screen is something the actor 'does,' and what the director can do is to tell, talk or instruct. So, all the credit for an actor's performance goes to the actor alone.

What is important to me as an actor is that, even if I have to spread my arms, take my shirt off on a mountain top with my heroine in a chiffon sari, it still has to be me and my twist or my funny take on it.

Usually most characters I play are quite realistic.

The main thing is the ability to control your instrument, which, in the actor, is yourself. Look the way you want the character to look. Sound the way you want the character to sound. Once you've trained the instrument to do what you want, you're in control, and you're free.

Actors look for characters. If they read a well-written character, and if they think the director's not an idiot, they're going to sign up and do some acting.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

When I go from a role with heavy prosthetic makeup, which I've done quite a bit of as well, and then do a role where I'm not wearing any, I have to be conscious of toning everything down. Because when you're wearing prosthetic makeup, of course, you have to really move your face a lot more to convey things through the makeup.

I treat any scene the same - dialogue, action - you're still creating something in character. It's all acting, fighting.

It's fun being able to suit up and go and kick butt and not have to worry about memorizing dialogue. It's a whole different way of acting because you're not depending on the words at all, you're really depending on everything else that you have.

Sword fighting in film is not about how good the fighter is, but how good the actor receiving the blows is.

Obviously an actor draws on his own experience.

My job as an actor is to cover and expose in varying allowance that - so that the audience can peek through the window to the people I create.

As a dancer, it's hard because there's such a perfectionist quality that you really have to let go of while you're acting, because nobody wants to a watch a perfect person on screen.

Each action of the actor on the stage should be the visible concomitant of his thoughts.

I feel like everything you learn as an actor growing up is wrong. You're supposed to hit your mark, find your light and know your lines. Those are all things that just make things wooden, dull and boring.

I think there is no better training than being onstage because here's the thing: the theater requires you to act with your whole body. I think acting with your whole body gives you a root, and you can build from there.

I'm not going to do the story any service if my acting isn't strong.

I think one of the things that people take for granted when they watch a film is the actors have to exhibit an extraordinary amount of force to block out the stuff that isn't a part of their reality. And when the audience sees it, they're seeing everything the actor isn't seeing.