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Ray Walston

"I suppose when I was a kid, and I went to movies, and later went to some plays on my own when I got a little older, in New Orleans, where I was living then, I zeroed in on the actor."

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"I suppose when I was a kid, and I went to movies, and later went to some plays on my own when I got a little older, in New Orleans, where I was living then, I zeroed in on the actor."

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Akiroq Brost

"I've been campaigning like anything for restoring these changes. For 27 years. I wrote a book about it, well, a portion of the book was devoted to these scenes and why they should have been in the movie."

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Akiroq Brost

"George Raft may or may not have gone both ways, but he was very sensitive to what they said about him, and it was one factor why he decided to play all those gangsters in the movies."

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Akiroq Brost

"There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific."

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Akiroq Brost

"I was mostly interested in it as a theatrical film. Personally, I am not so interested in television, simply because I don't watch television myself. I'm into movies."

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Akiroq Brost

"Make movies. Don't make videos. Videos are evil."

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Akiroq Brost

"What we were in on, really, was the invention of animation."

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Akiroq Brost

"I don't like doing movies, period. Movies are hard. I like TV."

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Akiroq Brost

"I never stopped studying Buddhism. In the past few years, in between movies, I do a retreat."

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Akiroq Brost

"I think that came out of watching all those serious movies for all that time. If you watch a movie like Zero Hour, Sterling Hayden is pretty funny, and so are the guys in the cockpit."

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Ray Walston
"Talent will come out."
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Ray Walston
"You could walk the streets, no matter how hungry people were, not matter how long they'd been out of jobs, you could walk the streets, you could ride the subways in New York, and you would not get knocked in the head."
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Ray Walston
"If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody."
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Ray Walston
"But I would like to think that it's the actor that makes the difference in these cases. Not the director, not the guy that wrote the book, not the guy that adapted it for the screen, but the actor."
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Ray Walston
"If it's not in New York, let's say it's in St. Louis, then they've got to find a place or get with someone who knows about the work... they've got to find a place like that and do scenes, and then try to get in plays."
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Ray Walston
"I've often wondered, when they've done Of Mice And Men on stage, and I've seen it, how they did that gun thing. I've watched it on stage, but I don't remember it."
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Ray Walston
"I love going on location, and the location was nice."
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Ray Walston
"I should have been trying to build a career, rather than leaving it in the hands of somebody else."
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Ray Walston
"I feel that the thing that probably aided me the most in that scene with the dog was the utilization and using an actual recreation, affective memory, if you want to call it, of pain."
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Ray Walston
"I didn't study acting."
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