George Blagden Quotes

I had improvised a lot in classes and at the Actors Studio, but I never did it in front of the camera.

I got Michael Caine's book, Acting In Film, and I read it on the plane, desperately trying to glean information from him about how to adapt my craft, which was actually very helpful.

By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.

A lot of people don't realize, when you are acting in a martial arts film, you're not just performing martial arts. You're not just performing martial arts. You're actually acting as much as any other actor.

Regardless of what level the actor's at, you always learn something. And you can learn something from bad actors as well, who I've also worked with in the past.

As an actor, my job is to go to the set, read my scene and perform to the best of my abilities.

Performing in front of the camera is a different thing, and shooting a whole film is another.

The experience with 'The Knick' is a singular experience. That experience taught me a lot about acting and about being on camera for extended periods of time to try to create a character arc that travels.

I have always felt that acting in a film is very challenging in itself. But when it comes to performing live, I think that is more challenging.

I'd prefer not to act in the film I'm directing. I think, though, as an actor, you do learn how to turn things on and off quickly and kind of compartmentalize. You learn to accommodate the camera and the other actors, to notice where the boom is and where you mark is, and be able to repeat something a few times.

I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.

You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about.

You learn a lot about acting and being physical and being on stage, but there is technical stuff on camera that you can't learn until you do it.

You would never dream of going on to play a scene in front of an audience at least without having rehearsed it. But you do somehow in front of a camera.

Playing with guns you revert to a little boy sometimes. But they're not great things to play with, so it's just making them look real. When it comes to shooting guns or using any prop, you've got to make it look like you know what you're doing with them. It's called acting.

Film has always been hard for me, I'm basically a stage actress. I never felt comfortable in front of the camera.

Acting is doing. The more you do, the more you learn. Work begets work.

It is a simple fact that all of us use the techniques of acting to achieve whatever ends we seek.

As actors we're always trying to use our creative imagination.

Anytime you have to get intimate on camera, it's always a little interesting. You have to trick your brain almost, so that you don't get stage fright or get too much in your head where you're super uncomfortable.

Having done stand-up on television and in stand-up specials for like Comedy Central, you learn quickly that for that type of performance you're playing to the camera.

The main thing on film is you want to be innocent to the moment.

I think for acting on stage and in film, one informs the other. Obviously, they require really different kinds of discipline and really different kinds of work. It's more along the same continuum, for me.

Acting is never really effortless, at least not for me. It requires a massive amount of work. But, there's definitely an added level of having to just create the whole thing again, every time. It's also a very exciting thing, to do that.

I will do plays as long as they're interested in having me do them. It's the biggest opportunity to learn the most about how to act. Something I discover every time I'm doing one is how little I know about acting - how important the art of listening is, and how important it is to listen with your entire body. You can tell so much of a story with stillness, and a lot of that can be from really actively listening to your scene partner.