Lukas Haas Quotes

I do not use any set methods, not even The Method. The character after all is in the lines.

When I find those actors who are going to work that hard and collaborate that deeply, my role is to make sure there's a whole lot there for them to work with.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.

Basically, the way you get into any role is just doing research on the type of character you're playing.

With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.

I'm a director's actor; I'm a storyteller's actor.

I like to have something to base a role on.

The thrill of acting is the discovery part, so it all changes, but it has to change in a way that fits what is written. You can't just wander off and get interested in your own tangent.

In acting, one should look at the film in totality. Improvisations should only be made keeping in mind the limits of a character. Always believe in team work.

Sometimes you get the luxury of having a script for a really long time, and you can get to talk with the director or the producers, and evolve with the role.

As an actor, you create a character from your understanding of what you have heard and your observations. Eventually, every film is an extension of the images that I have seen or what I have heard or read somewhere.

I'm a technician. I don't go for the get-into-the-role stuff. I read the lines and play the scenes.

As a filmmaker I find it much more rewarding to work with actors who are classically trained. It's about the work and only the work.

When you know your cast well and their strengths and weaknesses, you can start writing for them, just the way Shakespeare wrote for his actors.

You know, I've never been much of a method actor. I feel like, with every project I go in extremely prepared and I like to have a good time.

I don't really prepare for each role the same way.

As an actor, I like to get a bit of momentum going with a character and kind of work a bit quicker. I mean, not crazy-fast, but, you know, five or six pages a day is a nice pace.

The least amount of info actors get, the better. Actors are always like, 'What is my motivation for this?' You didn't write it. Just say the lines.

There's something about actors - not stars, but actors - if they have the character, and someone is pushing and shoving them to be the best they can be, they enjoy that.

The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings.

In every film, whether it's a fictional character or not, you create an idea of the character and for me I always do a bad impersonation to start with.

The process of rehearsal means you learn so much and really get the chance to develop your work on a character.

I feel like most actors just dig and dig and work and work in whatever way they do to try to do as much as they can to portray a character in the limited time they have to play it, whether it's six months or one month or one week of work, you know.

I like to rehearse. We did a lot of rehearsals for 'Moneyball,' but it is really individual to the actor. It's not like, 'Here is my process, everybody. Fit in.'

Love every role to be new, and I always like to bring a freshness to every character I play, but that comes down to the script. So, it's important that it's a good script with good, truthful characters and truthful subjects.