Michael B. Jordan Quotes

I am a proud participant of the Spencer Tracy School of Acting: Know your lines, don't bump into the furniture.

I have a coach, but I'm not theater-trained or a technical actor.

Any skill requires training. I took the corporate approach to acting and wanted to develop the necessary skills.

It helps me as an actor to always be on top of my stuff.

I do not use any set methods, not even The Method. The character after all is in the lines.

Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.

All actors do that. Should do that and do that. For the most part. I say all actors. I'm exaggerating, but you know who does and who doesn't. Vince is a wonderful young actor who knows his work and did a beautiful job on this film.

When you work with actors, what you're hoping to absorb is good ways to be an actor as opposed to how to handle being famous.

And that's one thing that helps me is I learn it blandly, vanilla, then I don't try to act it too soon because you start to act it, and you kind of go away from what the next sentence is, what the next paragraph is. So get it down so it kind of can - it's in there so you can then, as I call it, dance on top of it.

As an actor, you really want to respect and honor the script. You want to try to be in the moment and you also realize that you're one part of a bigger picture and when they call action, you have your dance.

I really think that studying theater early on really helped me to be able to identify how to get into a character, because it's such a mysterious thing. Learning objective acting in the beginning of my career was the best thing I could have ever done.

With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.

A solid theatrical education can only improve a screen performance. It gives you a fuller capacity to read a script and understand a character, for one thing. It's important to alternate between the two activities.

If you want to be an actor, you need to learn how to act first, even in sketch comedy.

I'm not really into method acting - the way I was taught was the good old-fashioned British way of just doing your research and getting on with it.

I try to create as many circumstances outside of set that help me fall into character when I get onto set.

What's beautiful about the actual acting class environment is that you can use it to push through everything: push your voice, push your inhibitions, push your fears, push your confidence, push your vulnerability, push your silences.

That's what I like about acting. When you're preparing for a role, you do your research, and the bonus is you get to learn these skills. Now, it's on to whatever the next thing is I have to learn.

The process of rehearsal means you learn so much and really get the chance to develop your work on a character.

It's not like every actor needs to train, but an actor will either develop their process through training or through working.

Every role sort of teaches you how to prepare for it.

I like to have something to base a role on.

I like to rehearse. We did a lot of rehearsals for 'Moneyball,' but it is really individual to the actor. It's not like, 'Here is my process, everybody. Fit in.'

It's funny because, if you're not an actor, people always tend to say, 'How do you memorize all those lines? Is that really hard?' I'm always like, 'That's just a small part of it. I have to seek my craft and my emotions' - you know, all this gross, actor-y stuff.

No good actor ever stops learning. He is constantly evolving.