I love working with actors. That's what the set really is, for me. It's my time with the actors.
I do readings at the public library. I just did a benefit scene night for my old acting teacher.
Recently, my dad has been teaching me a lot - like how to read a script. It used to just be about hockey or baseball or sports of whatever. We don't have glitzy or glamour-y Hollywood-type talk, like, 'Isn't that person great?' It's more about the process of how it works.
In 1954 I was on Broadway for five months in 'The Matchmaker' and went once a week to the classes of Uta Hagen, a theatrical guru whose teaching in retrospect illuminated the whole of my training at the Old Vic.
I'm not a classically trained actor. I'm not a product of Stavlovski method or anything like that.
I think it's my job as a young actor to watch adult actors and take tips on the way they work.
I love the craft of acting, I love learning, I love everything that comes with the new project; the whole process is totally intoxicating to me.
I learned more doing 'Breakfast at Tiffany's' than I did during three years at drama school.
I haven't actually studied acting at all.
I believe in giving actors the freedom to express themselves, and adding more to whatever is written.
Some people go to acting classes to learn. I just kind of went for the dates.
As an actor, you are always someone else's tool. You can have a connection with them, and you can share their point of view, but ultimately, you are helping them reflect.
When I was younger and studying acting, I never ever saw myself in the sitcom world; it was drama that really turned me on and still does.
I always wanted to be an actor, so I began to prepare myself for a career in acting. I did a course at Kishore Namit Kapoor's acting school. I was with Shiamak Davar's dance school and also did theatre with Nadira Babbar.
As an actor, the training I received was that I walk through the world as an observer of life and of people. My job is to actually be looking out all the time and watching people.
After being signed for 'Madras Cafe,' I joined Jogi Singh's acting classes, where I learned the basic nuances.
I often have the feeling that acting is really not difficult, because all I do is I just listen. I just listen. I just listen to what there is. And if there's nothing, then I listen to nothing. If there's a chair, and it's empty, I listen to an empty chair, and I will respond to it.
Yeah, I think the common denominator - and this is probably going to sound like Acting 101 - but the common denominator is belief in the character in the moment.
I try to steal from the best. Suck it all in. 'Taxi Driver' is really a bible for film actors, a master class. A lot of emotional power, a lot of emotional depth but it's contained and you just see the tip of the iceberg.
And at NYU, I went to the Atlantic Theater Company, and they have two main points. One of them is to always be active in something instead of just feeling it. And the other is figuring out your character.
For me, acting is play. It's just play and it's playing make believe really, really well.
I have no idea what 'method actor' means.
Your primary tools, as an actor, are observation and imagination. You can pretty much get everything you need from that, and you do. It brings back that element of pretend.
I was doing the work I was capable of doing with my own native talent, but when I looked at actors like Marlon Brando, Jimmy Dean, Kim Stanley, and Geraldine Page, I knew that they knew something that I didn't know. I wanted to find out what that was.
I think it's so hard to get really, really strong parts where the actress can act. It's rare.
