Michael Sheen Quotes

If you watch the show and the characters don't look at each other while they're talking, the actors probably aren't getting along.

I always argued against the auteur theory; films are a collaborative art form. I've had some fantastically good people help me make the movies.

Movie-making is serious business. The director and the crew are already under a lot of pressure to give their best to the audience. Therefore, the best part for me as an actor is to act well in the movies and make a jolly atmosphere with the co-stars on the sets.

I'm sure there are actors out there who work with other actors on a consistent basis - I am not one of them.

But Eraserhead was the first real intense kind of thing I had ever done before the cameras and Lynch had to really bring me down a lot and he still does.

I would like to thank the 49 actors who appear on screen in 'Whiplash' for realizing Damien Chazelle's vision so beautifully.

People working in films are somewhat like gypsies: we move from set to set and spent weeks, sometimes even longer working while shooting a film. Right from the spot boys to the make-up guys and cast and crew, we become a kind of family.

I had the time of my life playing Rose in Wes Craven's 'The Girl in the Photographs.' I became so close with the cast and crew, it was hard to leave after we wrapped.

The dream would be to work with my two favorite actors, Daniel Day Lewis and Cate Blanchett. Or playing Joaquin Phoenix's brother in a film. Basically anything where I get to act opposite actors like these; ones who bring a certain caliber to their work and literally morph into the character they are playing.

Donnie Brasco was great, but the energy on the set made it kinda hard to get in there and have an opinion.

I became very close with Charles Bronson and his wife, Kim. We did 'Sea Wolf' together along with Christopher Reeve. I've been lucky enough to work with some amazing, legendary actors. I worked with Rod Steiger twice, for instance.

When you're on a movie set and you are hopefully making a comedy, everyone's stifling their laughter. You're looking at the crew guys, hoping someone is making that face like, and not like, this is not working out, man.

Once you've agreed the script, you must be willing to go as far as it needs to go on set.

I've worked on movies where there's all these people coming and going, and I don't even know who they are.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

Maureen O'Sullivan did 'Hannah and Her Sisters' with Mia Farrow, her daughter, but O'Sullivan had a very minor role.

I think chemistry and great acting go hand-in-hand.

We rehearsed our 'Scarface' to the nines. Long period of rehearsal, so that by the time we started to shoot, it was almost like doing a play. We all had a grand time doing it. It was a wonderful cast.

I feel as though, as an actor, you can only make brave choices when you're acting with people that you're so relaxed with that you can make a mistake.

I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.

The thing about that too is that we had the same extras everyday. It was such a community. It was like a microcosmic little town. We were like all little towns people with extras and a crew.

I see a film or a TV series or a play as being this machine. It sounds quite robotic, in its description, but it's basically a machine and you're just one of the cogs that goes in it. You're not the biggest one, and you're not the smallest one. Everyone's the same size.

While filming 'Annie Hall,' I never really hung out with Woody Allen.

'True Grit' was fun to do, but I wasn't cut out to be an actor. I made John Wayne look so good, he won his only Oscar.

That's what I learned most about directing on my own - you've got to build a family, a filmmaking family.