Sam Palladio Quotes

There is probably some great acting that goes on in movies from people who have never been on a stage, but if you are in for the long haul, you'd be missing an enormous part of what being an actor is if you're not part of theater.

I think that classical theater training is just one aspect of acting. I think that experience of having worked with a lot of text can help you as an actor. It gives you the ability to tackle a larger than life character in parts that require it.

I work with my acting coach to help me get into character and do pronunciation drills and tongue twisters to help me deliver lines.

I think in any form of acting, you're always well served if you've done theater.

I have recently started acting lessons in south France, and I intend to commence acting lessons at Rada.

I know that people who have been to RADA and LAMDA can smash accents and do Shakespeare: all those things that I never really trained in.

Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.

I studied technique for ten years, from age 7 to 17. I guess you could say I went more on the Stanislavski side than the Meisner side - there's always that wide divide among actors when it comes to technique.

I think it's sort of a rite of passage for a British actor to try and get the American accent and have a good crack at doing that.

There was only one elective at my college for acting, but thank God for that elective because we had a great teacher who introduced me to the Meisner technique for acting. Once I read that book, I said, 'Wow, if I could do that and have that honest moment on stage, that would be amazing.'

Doing Shakespeare certainly makes you a better actor.

I went to drama school at NYU for serious acting. So I was doing Chekov and Sam Shepard plays.

Lee Strasberg taught me different ways in which a scene can be approached so that it is perfect. Acting schools also open you up - you react differently to each scene. It makes you a very reactive person.

I took Meisner for a long time. I use a lot of sense memory and, well, I wouldn't say Method, but I can't really avoid getting into character.

When I got out of high school, I was working in restaurants in New York City, when I heard Bill Anderson from The Neighborhood Playhouse was doing private lessons. I started taking classes, and it was a lot of improv and Meisner and repetition.

For me, rehearsal is very important, and I spend a lot of time doing it. Also, I work with my acting teacher for hours and hours before walking onto any set.

I've taken that with me since working with him; in order to be William Hurt, you have use every moment like he does.

As an actor, your first priority is the work - immersing yourself in the role, backstory, and bringing that to screen.

I had never really thought about acting as art. You know, growing up in Youngstown, the Rust Belt of the world, it was always just a form of entertainment. Finally seeing it as an art form, I fell in love with it. So I moved out to California, never having visited before.

During 'Manchurian Candidate' - that role originated with Laurence Harvey, and I studied everything he did. I would never be able to reproduce that performance, but I got a lot of ideas from watching it.

I really consider acting a high art.

I've spent most of my life trying to make actors comfortable, which I think is 90 percent of getting a good performance.

I'm more an actor who can dance and sing if I absolutely have to. I studied theatre in college, but I studied drama, but I don't have that Broadway voice, and I'm not a trained dancer or anything like that. I identify mostly as an actor first and foremost.

As actors, when we keep working every day, after a point of time, we just know all our emotional cards and how to play them.

I've been to acting coaches and everything, but they had to open me up and all that, so now I'm getting better with it.