Martin Landau Quotes

I had three influential teachers. The first was Uta Hagen. The second two, Bobby Lewis and my late husband, Charles Kakatsakis, were both from the Actors Studio.

I had the great fortune to work with John Houseman at Juilliard.

When I was 15, 16, I studied with Stella Adler at the Conservatory of Acting, then I stopped again and went to the Actors Studio when I was 18.

It took me forever, learning improvisation, because I had studied with Lee Strasberg - I dropped out of Chicago and went to his classes in New York for a couple of years, once or twice a week. What I didn't realize was I was learning directing because he wasn't all that good about acting, not for me.

I'm not a classically trained actor. I'm not a product of Stavlovski method or anything like that.

I never felt Lee Strasberg could act, and I fail to see how someone who can't act can teach acting.

I was an original member of the Actors' Studio.

I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.

I was a student of Sanford Meisner for three years at the Neighborhood Playhouse, and I studied with Lee Strasburg for five years and became a member of the Actors Studio. What I studied came right from the horse's mouth. My students have a lot to learn from me, and I am so eager to share it.

I studied acting for 10 years before I went for an audition. I studied with Lee Strasberg and Actors Studio teachers, and went to the High School of Performing Arts.

I studied music formally. I was probably less formal about my study of acting than anything.

Yes, I was actually an acting teacher for a while.

I got my degree in acting and theater, and then I had a teacher who told me to take a class with The Groundlings. And for a second, I thought, 'Well, I don't know about that. I'm a serious actress.' And then I did, and I loved it, and I said, 'Ah, well, I guess this is what I'm going to do now.'

I studied with Sandy Meisner at the Neighborhood Playhouse. I was in the last class to study with him before he had his larynx removed, so I actually remember the sound of his voice. He was an incredible teacher.

I trained as an actor with Lee Strasberg, Elia Kazan, and Harold Clurman, and those guys set a very high bar.

Besides stray instances of acting in school and college, I hadn't prepared myself to be an actor.

I decided to do theatre intensely. I joined Makarand Deshpande's group Ansh. He became my guru. That's where I met Anurag Kashyap and Kay Kay Menon. These were the people who supported and inspired me.

For me, Domhnall is an acting teacher as much as anything. If I turn out to be half the actor he is, I'll be happy.

I left my career in Hollywood, moved back to New York, and went to Lee Strasberg and studied with him for the rest of his life.

I love the way we do theatre in London: I love the fact that everybody is trained.

You turn up on set, and somebody who has come out of Oxford, has done a BBC course, is telling you how to act. You think, 'Do me a favour. Go and make a coffee.'

I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.

I don't know if anyone knows if they're ever any good, but I went to drama school in Scotland, in a classical acting course, and my first year, I remember one of my tutors telling me that I couldn't act, and I should give up and all this sort of thing, and then, they cast me as Romeo in 'Romeo and Juliet.'

I went to New York University to study experimental theatre in 2006 and was there pretty consistently until 2011.

For fifteen years, I was a teacher of youth. They were years out of the fullness and bloom of my younger manhood. They were years mingled of half breathless work, of anxious self-questionings, of planning and replanning, of disillusion, or mounting wonder.