Theatrical Technique Quotes

Most actors have a process that they can go through, that they rely on, or that they've discovered, and that can evolve from project to project.

Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor

Improvisation is not a presentational form, except in small doses, or as a game. It's a tool.

There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.

I don't believe in method acting.

Robert De Niro taught me how to listen, and how to be part of the conversation. It's not just about reading your lines and saying what's in the script; you have to understand your character, along with the other characters so that you can always respond.

I never act my characters - I am them.

I had to learn that a good actor, like an iceberg, reveals only a small part of his ability on the surface. You suggest; you don't serve on a platter. You hold back. You don't expose it all to view. That's the way to put the audience's imagination to work.

It's the nature of an actor to have to use sense memory.

Shakespeare teaches you how to act. You come out of this process as a better actor. It's just the nature of the words he writes.

Uta Hagen would say, there's the representational actor and the presentational actor.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

My natural bent is to have an overabundance of energy, and motion-capture essentializes your every breath, your every move. Seeing yourself through that mask, you realize how far you can pull back and make the performance even more powerful.

I don't approach my acting as just saying a few lines and then going off-screen. It's a craft. I really invest in trying to make it a craft.

First Rule of Acting: Whatever happens, look as if it were intended.

It's always hard but the reality is, especially in my case, that every time I go to work I have to do it so it's become part of the job. It's an extra challenge but it's also quite often another extra tool that you have to really think consciously about getting into the character. So while it does require more work, it's maybe even an advantage to a degree because it forces you to switch, to consciously have to jump into and out of the character.

That one long scene in the Leftovers I have with David Gulpilil was seven pages long. When we finished it, Mimi Leder said, "I thought you were gonna do this in bits and pieces. You just did the whole thing." And I literally couldn't remember the scene. It wasn't that I was in a trance. I said, "Just keep shooting takes until you see what you want." In 48 years of acting, which is also how long I've been married, that had never happened to me.

Theatre taught me to convert a scene into a vision.

When you're doing a play, you're onstage, there's no stopping or starting, there's no stopping to reposition for the camera or have a check done. You're there 'till the end of the show. What that gives you is a great gift, which is to command the audience, and you get to play with your script and your fellow actors. Every night, it's different. Hopefully it goes well and you get a great response. But the technique that you have to have on film or television is so delicate. It's fine-tuning. That is very different from being onstage, but they both have important skill sets.