Harrison Ford Quotes

Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.

I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.

You really have to do your job as a writer and push people to be as creative as possible. What's nice about the TV medium is you have such a connection to the characters that when somebody dies, the audience cries. They really feel it. You really don't cry when someone dies in a horror movie.

I know that I've had a very fortunate life, but also I think my job as an actor is to connect emotionally to human beings.

That's your job as the actor, to understand the human part of the character, to make it real.

I don't intend to be insensitive to the victims and their families but, at the same time, as an actor, it's our job, and we are obligated to portray the characters in the most realistic way possible.

The man that has anything bountifully laughable about him, be sure there is more in that man than you perhaps think for.

Anyone could identify with the human aspect of the characters.

You never know where your next job is going to lead you, down the road. One single episode that might seem so far removed from what you might end up doing in the future might spark somebody's memory bank. Just one little line you said or a look you gave might be what they want to pursue with a character.

Real danger is nothing more than just living. Of course, living is merely the chaos of existence, but more than that it's a crazy mixed-up business of dismantling existence instant by instant to the point where the original chaos is restored, and taking strength from the uncertainty and the fear that chaos brings to re-create existence instant by instant. You won't find another job as dangerous as that. There isn't any fear in existence itself, or any uncertainty, but living creates it.

You can't tell an audience to like a character. And I think the best way to get the audience on someone's side is to embarrass them.

One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.

Anything is possible, and the truth is any human being at any given moment, no matter how good they are - not only at their job but also as a person - they're capable of anything, and it's not always a conscious thing.

I've seen every one, from Motley Crue to John Denver, with tears running down my face. I had no idea everyone had such a hard time.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

The great thing about working on a genre show is that you can basically have a season finale where every character is left destroyed, and then hit the reset button and come back for the next season.

When you come out of the other end of a long process, working with a character [you realize] this character has really shaped my ideas.

If somebody'd said before the flight, 'Are you going to get carried away looking at the Earth from the Moon?' I would have say, 'No, no way.' But yet when I first looked back at the Earth, standing on the Moon, I cried.

Some actors, and especially the younger actors, they come into the job with a lot of attention on how they behave and everything when they're not working. Sometimes that can be unfortunate because the work call is pretty intense and the preparation for it. If your focus is there, then the actual doing of the job will be fun and enjoyable. But if you're so involved in trying to be interesting and a character and everything when you're not working, it can get in the way and people get goofed up.

In the loss of an object we do not proportion our grief to the real value it bears, but to the value our fancies set upon it.

The effort really to see and really to represent is no idle business in face of the constant force that makes for muddlement. The great thing is indeed that the muddled state too is one of the very sharpest of the realities, that it also has color and form and character, has often in fact a broad and rich comicality.

Job was what you'd technically describe as a loony.

The future is about emotion: reactions to events are usually far more important than the events themselves.

I love my job, I love being an actor and stepping into the shoes of different characters and exploring their lives. It's enriched my life extremely. I've learned more about myself and the ways of life through being an actor.