Dakota Blue Richards Quotes

In film, other actors' performances really are not your concern. If the other actor isn't giving you what you want, act as though he were.

Working with actors is something I've never done before. I find it tremendous. It's hard work.

On paper, actors are the dumbest group of individuals essentially out there. Most of us have not gone to college. However, we never stop learning. Because of what we do, we're constantly researching, constantly learning.

As an actor, I love working with directors. As much as I love working with other actors.

I've been interested in the writing/directing thing and really fell into acting by complete accident.

It's been about ten years since I've worked with actors who knew their lines!

Writing and directing might be a red herring, and really I'm just re-examining what it is to act, to do it well and do it properly.

Actors must practice restraint, else think what might happen in a love scene.

I think when you take away all, like, the premieres and press stuff and all the special effects, then you just come down to the fact that it's all about acting, and I think that has been the best bit for me.

A lot of actors and actresses pull from past experiences.

As actors, we shouldn't worry too much about the language we are going to speak in a film.

I never had the slightest difficulty with a fellow actor. Not until One, Two, Three. In that picture, Horst Buchholz tried all sorts of scene-stealing didoes. I came close to knocking him on his ass.

I've always been an actor. That's my job — I can be anything you want me to be.

I'd prefer not to act in the film I'm directing. I think, though, as an actor, you do learn how to turn things on and off quickly and kind of compartmentalize. You learn to accommodate the camera and the other actors, to notice where the boom is and where you mark is, and be able to repeat something a few times.

[As an actor] I have ideas, but things should always be fluid. You should always be ready to follow an instinct. Something might reveal itself on the day.

Movie actors earn their living and learn their craft through listening and reacting.

When becoming a character, you have to steal. Steal whatever you see. You can even steal from other actors' characterizations; but if you do, only steal from the best.

I had the kid [on "Fences" ] who understudied me so I could stand back and think about shots so he had to learn the blocking and everything. I'd come in early sometimes, and they 'd be in there rehearsing and working on their stuff. I didn't want them to feel like, "Oh these are people who can't be touched." We're all working actors; we're all trying to get better.

You have to stay in character in between takes.

I memorize my lines and I show up. I think it's just instinctual, and sometimes it's wrong and the director says, "No, do it this way." And then I can change, because I didn't spend all night practicing it this one way. All I do to get ready for the day is the night before, I read my lines once or twice, memorize them, and then I show up.

One of the joys of being an actor is that you're always learning new things. And I've been doing this since I was 19, so there's been a lot of new things I have learned for each part. I always assume that I can do it.

I think you have to be flexible above all as an actor; different characters have different demands, actors that you work with are different in their approach, or how you get along or don't get along with them.

I love actors, and I'm passionate about the creative process of acting and filmmaking.

I am really attracted to films. It's nice to do something new, all the time. That's why I like being an actor.

English actors feel vaguely apologetic for being there at all. American actors know that the most important thing is to get one take out of fifty that is great, and they'll go to any length to get it. The English are used to working within consistently small, low-budget things and think, I mustn't waste their time.