Elizabeth Taylor Quotes

The first time I played a killer, in the 1997 film 'Mojo,' I went to my local video shop and got out a video of real executions and a history of the Third Reich. The guy in the shop was giving me a look. I thought this would help, but I don't think it made any difference, and I don't want to see any more executions.

I like to be in character a good few hours before I arrive for filming.

I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away.

Soaps taught me the fundamentals of the game. You know, how to show up, hit your mark, how to be on time. That soap opera world is a microcosm of the entertainment culture.

Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.

I want to be thinking as quickly as I need to as soon as I hit the stage. I want to have a vocal warm-up.

I was hired because I am Zsa Zsa Gabor, but when I go to work, directors try to force their methods on me. John Huston's intense, precise directions tortured me.

One of the reasons why good actors are good is that they have poor impulse control. If you put them in front of a camera, they respond as if it was actually happening, in real time, rather than doing it after several takes.

I'm just not the kind of actor to take things home with me in any excessive way.

I'm always like this with a new movie role. I always get super-defensive and make noises like a rooster, Maybe that's because I spent so much time as a chorus girl.

I learned the process of this kind of acting, how things run, how chaotic it can be, and what kind of different muscles you have to flex.

I never don't know my lines. I never take the audition pages into the room. I end up relying on them or looking at them too much, and it makes me feel unprepared, so I always learn my lines without fail.

I wish sometimes that I could be Daniel Day-Lewis and say, 'You know what? If you want me to do this, I'm going to need a year to prepare myself.' But if I do that, they'll say, 'Thank you very much,' and they'll take someone else.

I warm up at home. I hit the stage, I'm ready, whether it's rehearsal or anything.

A lot of actors try to sabotage other actors, and that's sad because then you're never going to get that beautiful scene.

If you agree to do a sex scene, you have to be willing to not be awkward about it. C'mon! I don't think of it as anything other than a dance, really. I don't see that person. I don't think of me being me.

A lot of actors like to get themselves worked up, and I think from what I saw from Mr. Redford, he goes the other way. He relaxes into it.

If you get lazy when you're onstage, it shows.

I do a lot of vocal warmups, which are the same warmups I did when I was a kid, because I had a few classical singing lessons and stuff like that, so I know pretty much how I'm gonna be once I get on stage.

I like to prepare for my roles well, so you can call me a method actor to an extent.

Vetrimaaran expects his actors to be spontaneous. Since he mostly prefers shooting in live locations, you have to be prepared for everything when you work with him.

Sometimes as an actor, it's really hard to give yourself permission to take your time and move slowly and not feel like you're holding people up or you should be going faster.

I don't ever recall being nervous before performing because I've already stepped into the shoes and the clothes of the character.

I was not nervous while making 'Nazar' because I was well prepared. I took three months to prepare. When I went on the sets, I knew what I was doing.

Once you are in the character, you should let your inner actor take over you.