Arthur Penn Quotes

For any actor, it's very important to make your co-star comfortable.

I'm very old-school. I like a director to direct me. I like to be the actor.

I'm not what you'd call a Method actor.

I just love the process of working with other actors.

I just love the process of working with other actors. It's like jamming with a musician, except it takes a little more effort to get to that place as an actor, because you have the cameras and lights and everything. But I love jamming with these people.

As an actor, I love working with directors. As much as I love working with other actors.

I think it's a style of acting that you trust. You trust the instincts.

I'm not Jack Nicholson. I'm not Brando. But I do mumble.

I've learned by watching films that inspired me and people who inspired me like Robert Redford and Paul Newman. I love old school acting. I love subtlety, and I also love being spontaneous, and that's really what works for me.

To be able to work with actors who are doing such good work, not only makes it easier for you, but it makes you better.

In my experience, it's usually up to the actor how a character is portrayed.

The magic doesn't come from within the director's mind, it comes from within the hearts of the actors.

I have been working up until recently with Neil Simon, who has been adapting the character to me.

I approach music and acting the same way, through spontaneous improvisation. I never really try to rehearse anything, do it over and over, except when we're inside a take.

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

For my money, when you're doing an on-camera performance, unless it's for something particularly stylised, you are, by and large, striving for naturalism.

A lot of film acting is about being casual.

I am a director's actress in general - I depend a lot on them.

Initially, it took me time to realise that I am sharing screen space with Irrfan Khan. But when I started working with him, a lot of times I would end up laughing in a scene.

There's something very fine and lucid and rich in this tradition of the English actor.

It usually starts with the director and any other creatives who may be involved at the start. It's a collaboration. I bring what I have naturally and, hopefully, what they cast me for, and then we start playing and tweaking until we have what they feel's right. It helps to have some artwork to inspire me, but I don't always get that luxury.

I don't really create things externally; I'm not that kind of actor.

I think for me, I just love that trust you have with theater and your ensemble and people you are working with.

I have realised I am a director's actor.

I'm not an actor that works in front of a mirror, who tries to repeat her actions or whatever.