Dramatic Delivery Quotes

You should really treat stand-up like you would a play. It's a one-man play.

I've done so many other projects where you're in a room with a reader and you're acting your lines out: 'We have to get out of here! Any minute the building will explode!' And then the reader says: "Yes...we have to get... out of here." So it's not easy to be in the moment in that kind of situation. Reading with the entire cast in the room for The Clone Wars makes the experience much more organic and I love that.

I opened the show with this line: "I have decided to give the greatest performance of my life! Oh, wait, sorry, that's tomorrow night.

If this was The Lord of the Rings and I had a smart British voice like Cate Blanchett, I could tell you the background of the events of that fall in a really suspenseful way. And you’d be straining to hear the rest.

An actor who knows his business ought to be able to make the London telephone directory sound enthralling.

I approach everything the same. I try to make it as real as possible, whether you gotta make people laugh or make people cry, it's always the same approach for me. But if I start doing pratfalls, somebody please pull the plug on me.

I'm frequently surprised, sometimes bugged off, and sometimes happy, depending on the actor. It's a fact of life that just as often as not an actor can breathe life into a line as he can destroy it by misinterpretation, and I've been blessed frequently by having good actors.

I learnt a lot about how to negotiate the camera: everyone had told me an actor doesn't really need to do anything on screen, but I realised that wasn't true. If you do nothing, it's boring.

When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.

Oh! it offends me to the soul to hear a robust periwig-pated fellow, tear a passion to tatters, to very rags, to split the ears of the groundlings.

My method of getting a play across the footlights is like a revolver shooting: every line has a bullet in it and comes with an explosion.

We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.