Michael Caine Quotes

Not surprisingly, there is a cultural divide between American and British actors regarding the self-promotion associated with new media.

England produces the best fat actors.

It's a phenomenon that I see with young actors - a lot of American speaking parts going to British actors.

Americans are very good at animating voices. I don't know why. They have a freedom with them that we British actors find more difficult to get to.

Everything makes me vulnerable, you just have to use it as an actor. It's a constant balance.

Sometimes you choose the wrong actor, he could be the best actor ever, but hes not cast in the right part then it doesnt work.

If you read a part that you want to play, and you already know you have actors you want to work with but it's not on the page, it's not going to be on the screen. So that is the most difficult thing to do for a producer, is to get a script that attracts this kind of talent.

I want to be a great actor someday, and I've decided there's no use philosophizing; the only way is to work at my craft.

I'm always surprised that certain actors have Twitter accounts. I guess they use it in a way that works for them. But I'd rather that people had less access to my personal life. If I could keep it that way, I'd be a happy lady.

We use improv in all kinds of fun ways. Sometimes it's to invent or discover new things, sometimes it's to weird out the other actors, and sometimes it's to create a sense of fun, to find new things inside the scripted lines.

To be honest, I would like to have worked with Peter Sellers, because when people talk about classic British actors, you talk about Lawrence Olivier, and Peter Sellers was just in the most amazing films.

...the reality of intelligent British speech... uses blasphemus, coital and cloacal expletives as a matter of course.

A market is not politically neutral; its existence creates economic power which one actor can use against another.

As we all know, it is the proper duty of every British subject to come to the aid of the TARDIS.

I've always had an easy time directing actors because I always hire ones that are great before I get my hands on them.

You have to find actors who have the ability to display a wide range of emotion effectively. That's so much harder than it seems.

I start casting early in the writing process, so I can tailor the script to the gifts of the actors.

There's nothing the British like better than a bloke who comes from nowhere, makes it, and then gets clobbered.

What do you feel? I’ve never been asked this question once. None of us has. We aren’t supposed to feel. We’re British.

It's tricky with monologues, and I never like to use that word. Like I told the actors, you are talking to somebody; there is no such thing as a monologue.

There are always going to be more actors than anybody can ever use.

There will be a quick rash of hairy American filth, but it shouldn't threaten the existence of decent, serious British filth.

Lawrence of Arabia, British Beatlemania.

Good actors never use the script unless it's amazing writing. All the good actors I've worked with, they all say whatever they want to say.

My own personal process with movies is to develop the characters with the actors and, when I've done that properly, you can't imagine anyone else, but that actor, playing that part.