Michael Rooker Quotes

I don't feel very glowing, especially after wearing makeup - and not necessarily my choice of makeup - for 12 hours straight on a movie set. When I'm playing a character, her look is sometimes different from my own.

Prosthetic makeup is always frustrating.

All that prosthetic makeup drains you. By the time it's lunch, you're done.

I always do makeup touch-ups myself, especially for blood, wounds, and dirt. It saves so much time.

In a pinch, I could always get work in pictures as a makeup artist.

Filming is long - you get very tired, and your skin breaks out and you get lumps and bumps. It's easier if you're allowed to have bags under your eyes.

When I was younger, my goal in life was to work in special FX makeup. Liquid latex and fake blood! That was the dream!

I trip off it. You know what's interesting about the makeup is when you get up close and you know he's been working on your face, and you see where the makeup starts and it stops, and how seamless it is. You could look at it for hours.

At the worst it was eight hours of makeup, and I couldn't sit down; I was in this crouched position. [on the traumas of being an actor in full make up]

People have no idea how physically tough doing a film is.

It was a challenge to be able to create a character without being able to use one's normal set of expressions. All the rubber and makeup attached to your face left you with only a modest range of facial movements.

There's a lot of us idiot actors that get tattoos and they cover them with makeup when you do a film.

You do get really exhausted doing films. You work such long hours, and after a while, things can get out of perspective, just like if anyone's tired, things get on top of them.

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.

When I played Tonto in 'The Lone Ranger' and was playing the older Tonto, I would just leave the makeup on and go to sleep because it was a four or five hour job; it was, from the waist up, all over me.

Four hours of makeup, and then an hour to take it off. It's tiring. I go in, I get picked up at two-thirty in the morning, I get there at three. I wait four hours, go through it, ready to work at seven, work all day long for twelve hours, and get it taken off for an hours, go home and go to sleep, and do the same thing again.

Some people ask me, Do they put aging makeup on you? It's just this very nice street makeup.

When I was little, I didn't know you got paid for acting. My parents put the money in the bank for me, but I just thought it was this fun thing that I was so excited to do. You got to be on the set and get a little bit of makeup and be on camera.

I love sitting in the makeup trailer and getting my makeup done in 15 minutes as opposed to an hour and a half.

If you're in an Egyptian film and you're not Egyptian, you have to wear mascara and stuff like that.

To play a Punjabi guy in 'Rab se Sohna Isshq,' I had to put on muscle.

I didn't leave TV for films; I left it due to health issues. I wasn't keeping well, and I was losing weight due to the long working hours.

When I was dressed as a clown in all that make-up I used to shed pounds every night and got agonising kidney stones because I was sweating so much.

From a child, I knew I didn't have the face I wanted to have. My mother was a baroness. She was from Berlin; she was a silent movie actress and friends with Marlene Dietrich. So she knew all about film make-up and prosthetics and stuff like that and what they used to do in those days. And she taught me all that as a child.

To be honest, even I was tanned three shades darker in 'Love Sonia.' The fact that people were able to connect to my character was very important. Why should we not have that kind of makeup?