We actors can't say every line as if it has weight, but what we want to do is be true to the meaning of each line, whatever it is. Even the lines that are throwaway may come back later.
I definitely still have my hand in acting. I don't think I would be able to walk away from it. It's my passion.
What do I love about acting? I love traveling, meeting new people, exploring and just doing what I love.
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
Good actors are always looking for props. They're looking for behavior. It makes it a lot easier. You're not solely dependent of what's coming out of your mouth. You're also less self-conscious, less aware of the camera.
Sometimes when I'm reading a script, I can't quite believe that this is going on television alongside cereal commercials.
I learned so much by being an actor, and part of my sort-of development as a writer is big thanks to the scripts I read in my acting life.
I never planned to become an actor.
My strength lies in prepping. I'm not someone who can just walk onto the set and perform.
When I first started acting, I was just crap.
I love working with actors. That's what the set really is, for me. It's my time with the actors.
Acting was something that I grew up just doing. I certainly never thought about it.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
When I was in film institute, stage plays were compulsory part of our training.
I couldn't read a screenplay without puking.
I'd done acting at a local drama school on Saturdays. I just enjoyed it. It never entered my mind I could possibly do it for a career.
You can't just tell actors, especially young ones, to 'act happy' and expect them to do it. They must in some essential way be happy.
I was offered Vicky Kaushal's role in 'Lust Stories,' which I had declined.
In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.
I have a very simple philosophy when it comes to casting, and it really is casting the best person for the role.
In my heart of hearts, I love theatre. It's the joy and terror of putting a play on, the creativity of it. It is infinitely harder than film and television and more tiring. Your performance is heightened in the way it isn't with film.
I had always heard that theatre is for 'serious' actors but after actually having rehearsed day in and day out, I realize how challenging it is.
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.
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.
I'm a working actor so I never really pick a film because of a genre, and I don't really turn them down because of genre. Anything that's unlike the picture I just finished is always more interesting.
