Eleanor Tomlinson Quotes

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

My relationship with every film is more or less the same, but the experience is the difference. It comes with the people I am working with, the character I play.

As a writer you see the big picture and how you can tell as one character, how your storyline is going to meet up with all these other storylines. And as an actor you're thinking of all the minutiae, all the very small details.

I really do like working very closely with a director and developing characters.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.

Our job is to represent the truth of human nature, whether you're playing a tender love story that's set in a coffee shop or whether you're in 'The Avengers,' which is set in a Manhattan which is exploding.

Having learnt my basics in theatre, I always feel film is a collaborative effort. If you do your part well and help the person in front of you in realising his or her potential, the film invariably comes out good.

I always think that the deal, once I do the script, sort of the experience I go through writing, which is everything you can imagine, but I always think it's the one thing I can do when I'm directing is say is that it's all about the actors, that I can say, 'We're all here to serve the actors.'

Part of an actor's job, in my opinion, is adjust to the characteristics of the director and try to understand to how he tries to work.

Acting is an imaginative leap, really, isn't it? And imaginations prosper in different circumstances.

As a director, it is important to understand the actor's process.

The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.

When I'm shooting, I don't care who the star is. I have an actor playing a part, and I'm serving the script, not serving anyone's career.

When you work with Sir Anthony there are days when he will do a lot of takes if he's really enjoying a scene.

I'm not a huge kind of visual director. For me, it's all about the acting. There's no greater buzz than working with actors and seeing what they can do and how much they can improve on what you'd written. That will always be on the top of my list. It's a real privilege to see it live before anyone else sees it.

The magic doesn't come from within the director's mind, it comes from within the hearts of the actors.

My number one passion is acting, but I also think there's something so special in being able to support a script and an idea and take it all the way through to fruition. I think that process is so rewarding.

I really think that as good of a job as you do as a writer, you're absolutely indebted to the actors that have to deliver that material.

I love to do very long and complicated scenes.

I think every actor would probably say that it's always a collaboration. And if you ask directors, they'll tell you that they expect the actors to bring something. They don't want to be thinking for everybody.

With acting, there's a certain amount of independence you have within the framework of the storytelling. When it's done well, it's a collaborative medium.

Character is plot, and casting is character.

For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

As an actor, I love the feeling of being on set and the camaraderie of working on something together.