Hugo Weaving Quotes

I think that acting involves doing your job so well that you are able to help the viewer identify with the character.

There are a lot of things I love about acting and one of the things I love the most is, here you are taking words off a page, working with someone you might have met just a week before, and somehow you're creating a moment that separates itself from space and time. You feel an incredible rush when you have that moment with another actor. You can feel it bounce off one another. Every take you do can reveal different things that were hiding. And things outside the story get revealed to you, too. It's an incredible way to work and to experience a story.

We like movies and books that give us this emotionally moving experience, where you feel like a slightly different person, and you see the world a little different after you finish. It lets you see your own life in a different way, and it actually makes you feel really good.

I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.

I think it was T.S. Eliot who talked about good poetry being felt before it's understood. I believe that. There are some bands where I love their lyrics but I don't have a clue what they're on about.

Good acting comes from finding the essence of a character.

I don't really approach a character as to whether or not it's good or bad. I just approach a character as to where it lives in me.

I think anything emotional adds to your acting and singing, no matter what it is that you go through. It will always add to it, never take away.

Everyone who makes music is a good collaborator at their foundation because in order to make music, you have to connect to it in a way that other people can't.

When you act a scene with Sidney Poitier, he listens intently to every word you say. You can feel your words hit him. He makes the scene utterly real.

I consider those actors who amaze me are somehow less attractive to me than those actors who move me.

Music is about communication... it isn't just something that maybe physically sounds good or orally sounds interesting; it's something far, far deeper than that.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

I wanted to make people feel the same way I feel when I see a good movie.

It's good for art to make us think, to give us a shared experience that creates a dialogue, makes us talk to each other, including strangers.

If you give an audience a chance they will do half your acting for you.

Now I need to take a piece of wood and make it sound like the railroad track, but I also had to make it beautiful and lovable so that a person playing it would think of it in terms of his mistress, a bartender, his wife, a good psychiatrist - whatever.

When I go to galleries in New York, I feel like I'm in school. I know that there's good contemporary conceptual art, but I have a really hard time caring about it. I'd rather look at images of people and things I can relate to. Then again, I didn't go to art school.

A good actor is somebody who can be truthful and fascinating and interesting and enlightening.

A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.

It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.

Music is the greatest communication in the world. Even if people don't understand the language that you're singing in, they still know good music when they hear it.

If you make a record, you should ask yourself, 'Did it make someone cry, in a good way, not a bad way?' There should almost be subjective emotional criteria for evaluating work, instead of just profitability.

I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.

I have to believe in the character to perform it.