Ruth Buzzi Quotes

I actually love working with accents. I don't know, something about it unlocks something in me. It makes me concentrate on getting into character a little more, helps me find a focus.

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

I'm one of those lazy actors; I like to take what the playwright wrote and work with that.

The rehearsal time is almost my favourite part of being an actress, particularly if you're working on a play that hasn't been done before.

When you write a script that you've felt in your soul for a long time, you can't ask the actors to go through the same emotions. You have to do part of the job to make things as easy as possible for them.

I never approach an actor till I have finished the script.

I personally take cues directly from the script, then I like to surprise the other actors. But you must maintain control on a level and see how far you can go up, down or out emotionally. You have to balance the craft with spontaneity.

In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.

When you start out on a project as an actor, you know, you approach the character from the standpoint of maybe writing a list - even if it's a mental list that you make - of the adjectives that the character has or that character possesses.

There are two schools of thought: There are those actors who explain to you that they know exactly how they're going to do the part... And then there is the other method, which is to have no method at all. This is mine.

I think if you're a competent actor with a good imagination, and if it's on the page, it makes your job a lot easier.

I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.

In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.

Actors have seven tracks going in their minds: They've got all the research they've done for the part, then they have whatever the director asked them to do, then they've got what the departments like special effects need them to do.

I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.

Reading scripts or commercial copy isn't a problem for me, so I can really focus on the acting instead of it being secondary.

My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

In the work that I normally do, you have a whole script, a whole arc, that you play. And I do believe a good actor will play every bit of information they're given.

I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.

Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.

Even as an actor, I think like a storyteller. My parents raised us to look at the script.

The happiest moments for me, creatively, are doing readings of a play around a table where there's no audience.

On some level, acting is the art of pretend, and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there, no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.

To me, getting notes, honing the part, and refining the role is the real fun of the play.