“The hardest part has been maintaining a small head -- remaining down to earth. So many people try to make you more than you are. This business has changed a lot of good people and a lot of good families, and I don't want that to happen to me.”
“When I was a fireman I was in a lot of burning buildings. It was a great job, the only job I ever had that compares with the thrill of acting. Before going into a fire, there's the same surge of adrenaline you get just before the camera rolls.”
“I'd prefer not to be the pretty thing in a film. It's such a bloody responsibility to look cute, because people know when you don't and they're like, ''They're trying to pass her off as the cute girl and she's looking like a bedraggled sack of potatoes.”
“It's not a field, I think, for people who need to have success every day: if you can't live with a nightly sort of disaster, you should get out. I wouldn't describe myself as lacking in confidence, but I would just say that the ghosts you chase you never catch.”
“This is not a tough job. You read a script. If you like the part and the money is O.K., you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.”
“Some scenes you juggle two balls, some scenes you juggle three balls, some scenes you can juggle five balls. The key is always to speak in your own voice. Speak the truth. That's Acting 101. Then you start putting layers on top of that. [On his acting techniques]”
“I think every American actor wants to be a movie star. But I never wanted to do stupid movies, I wanted to do films. I vowed I would never do a commercial, nor would I do a soap opera -- both of which I did as soon as I left the [Acting] Company and was starving.”
“The actors today really need the whip hand. They're so lazy. They haven't got the sense of pride in their profession that the less socially elevated musical comedy and music hall people or acrobats have. The theater has never been any good since the actors became gentlemen.”
“A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.”
“We are born at the rise of the curtain and we die with its fall, and every night in the presence of our patrons we write our new creation, and every night it is blotted out forever; and of what use is it to say to audience or to critic, ''Ah, but you should have seen me last Tuesday?''”
“She represents the un-vowed aspiration of the male human being, his potential infidelity -- and infidelity of a very special kind, which would lead him to the opposite of his wife, to the ''woman of wax'' whom he could model at will, make and unmake in any way he wished, even unto death.”
“The mere mechanical technique of acting can be taught, but the spirit that is to give life to lifeless forms must be born in a man. No dramatic college can teach its pupils to think or to feel. It is Nature who makes our artists for us, though it may be Art who taught them their right mode of expression.”
“Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing -- all the things that ruin your life and draw your attention away from your art -- at the door.”
“Talk to them about things they don't know. Try to give them an inferiority complex. If the actress is beautiful, screw her. If she isn't, present her with a valuable painting she will not understand. If they insist on being boring, kick their asses or twist their noses. And that's about all there is to it.”
“From '86 until the summer of last year, wherever I went, people would say, ''You would have made a great James Bond! Weren't you going to be James Bond? You should have been, you could have been, you may have been.'' Yes, yes, yes, yes, yes. It was like unfinished business in my life. I couldn't say no to it this time around.”
“Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.”
“After Blood Simple, everybody thought I was from Texas. After Mississippi Burning, everybody thought I was from Mississippi and uneducated. After Fargo, everybody's going to think I'm from Minnesota, pregnant, and have blonde hair. I don't think you can ever completely transform yourself on film, but if you do your job well, you can make people believe that you're the character you're trying to be.”
“Speak the speech, I pray you, as I pronounced it to you -- tripping on the tongue; but if you mouth it, as many of your players do, I had as Leif the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and as I may say, the whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.”
“They are, as it were, train-bearers in the pageant of life, and hold a glass up to humanity, frailer than itself. We see ourselves at second-hand in them: they show us all that we are, all that we wish to be, and all that we dread to be. What brings the resemblance nearer is, that, as they imitate us, we, in our turn, imitate them. There is no class of society whom so many persons regard with affection as actors.”
“Abused as we abuse it at present, dramatic art is in no sense cathartic; it is merely a form of emotional masturbation. It is the rarest thing to find a player who has not had his character affected for the worse by the practice of his profession. Nobody can make a habit of self-exhibition, nobody can exploit his personality for the sake of exercising a kind of hypnotic power over others, and remain untouched by the process.”
“Elizabeth Taylor is pre-feminist woman. This is the source of her continuing greatness and relevance. She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary clichT. But the femme fatale expresses women's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all men's relations with women.”
“The actor searches vainly for the sound of a vanished tradition, and critic and audience follow suit. We have lost all sense of ritual and ceremony -- whether it be connected with Christmas, birthdays or funerals -- but the words remain with us and old impulses stir in the marrow. We feel we should have rituals, we should do something about getting them and we blame the artists for not finding them for us. So the artist sometimes attempts to find new rituals with only his imagination as his source: he imitates the outer form of ceremonies, pagan or baroque, unfortunately adding his own trapping -- the result is rarely convincing. And after the years and years of weaker and waterier imitations we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.”