Robin Tunney Quotes

What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.

When you drop your guard in films, the acting process compensates. You get lazy and you start acting.

If you're working opposite an actor who can act, then all you have to do is listen and respond.

Sometimes, as an actor - and I've witnessed this with other actors that I've worked with - you don't realize that it's not all about the actor.

There is only so much you can do if you're pulling weight and there's nobody there to play off of. You can't have those beautiful moments with new actors who are so worried about everything else but the moment.

It's sort of the most important thing for acting, is to listen to the person you're dealing with.

Well, I think one of the main things that you have to think about when acting in the movies is to try not to make the acting show.

When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'

I love an acting challenge, and I love getting to sit down with my script and do all my drama work.

I'm an emotional actor. When I'm doing a scene, I really believe it. I live the part as long as I'm in the scene.

I just love the process of working with other actors.

When people embrace character, there's latzie. It's the stuffing of a scene that's not written. It's not in the stage direction and it's not in the words. When people embrace character, it informs their living, breathing moments in a scene so well.

You try to work with the director and your fellow actors to get somewhere, but other people are the judge of whether you hit that note right.

Auditioning and actually acting on a set are two different things. When you audition, you're in a room and you don't have anything to play with and you don't have anything physically in the room. Whereas on set, you have direction, you have costumes, and you have other actors to work with. It's a completely different thing.

I walk into a scene, and I do the scene. That's my job. I don't have an objective. I have the words, and I have whoever I'm playing with.

Since I was from the theater, that's how I learned how to go through the process of being a character. That's how I learned, and that's what I was comfortable doing. And then, the first feature films, I'm sure I was no fun because I did not want to be spontaneous in that filmic way that really can work for you.

As an actor, you want a director who makes you feel comfortable in a place that you can really create and try a lot of different things.

When you act with phenomenal actors, it makes your job much easier because all you have to do is react.

I like to prepare for my roles well, so you can call me a method actor to an extent.

Once you are in the character, you should let your inner actor take over you.

I am neither a method actor nor a trained one. So, I don't generally prepare for any role. Becoming the character and being in that moment are most important.

I am a natural actor. I try to keep it spontaneous as far as possible. That is my mantra.

A lot of really good actors are able to go straight from life to their work. They don't treat it as something that's an unattainable, weird thing that they have to aspire to and reach for in a scene.

Every actor just wants good writing.

For any role, I pretty much always go to the script, first and foremost.