Brett Young Quotes

I think if you work as an actress and are supposed as a character to be in love with some actor, then to some extent you do have to be in love with him.

I have to believe in the character to perform it.

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.

People think memorizing lines is hard, when that's the last thing you worry about. You get that done, and then you've got to worry about the internal stuff, which is the challenging part.

In theater, the wellspring of the character comes from the doing of it, like a trial by fire, but in front of an audience.

The trick to acting is not to show off, it's to think the thoughts of the character.

I don't have an 'actor cry.'

I think I approach everything as an actor first. I'd rather walk onto a set and just act and just worry about that.

One of the things an actor tries to access is immediacy, so that you feel like you're experiencing it for the first time. But when you're playing a character who knows what's going to happen and can't stop himself to reacting although he knows he can't stop himself from reacting, there's a whole separate set of things to consider.

I want to be in a more natural state while doing acting.

Playing a real-life character, as an actor, gives me real high because there is so much of research material available in front of you.

I think my concerns are the same as every actor. Can I find this character and make it come to life properly?

It's always a mystery when you're going into a role - 'Here's your wife of 40 years and... action!' How do you create ease or chemistry or whatever is supposed to exist?

I love acting and really taking on another person, another life.

Because I was able to submerge myself into the character, I didn't have to go back and forth. You don't have to work hard to bring emotions. It all just comes naturally, you're there living it.

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.

In acting class, teachers talk about how the 'givens' of a situation help define a character.

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

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'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'm not the kind of actor that can go completely cold into an emotional scene. I have to transport myself emotionally by whatever means possible, and that basically means you carry the situation with you all week, all episode or all day beforehand.

I actually think acting is a form of self-hypnosis. You have to be hyper, hyper aware of what's going on around you. You have to know where the lens is, what the shot is, and where you're moving. And then you have to trick yourself into an emotional state where you believe this stuff is actually happening.

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

He wasn't really Method but he believed that when you did a role there were lots of things you could do with your co-star in order to create the right environment. You known, if you were supposed to be in love, to create that feeling between the two of you.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.