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"I have never had trouble with any actor being able to visualise things. They are amazing. As long as you have your monster head on a long stick, so you can hold it up there and you can wave it around and let them see it and explain it to them, they are just great."
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"What we do as actors is we go through phases where you superficially learn all this information."
Author Name
Personal Development
"You know, for an actor to come into the midst of that, it's - It can either be difficult and somewhat unnerving, or it can be very embracing and like, kind of stepping into a nice hot tub."
Author Name
Personal Development
"There are certain actors who are very good at improvising, like Dustin Hoffman and Glenda Jackson."
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Personal Development
"As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating."
Author Name
Personal Development
"I might have a guitar or a piano on set to play something for the actors."
Author Name
Personal Development
"There's a real separation between actors and all the other functions of Hollywood. If you're an actor you're somehow not a member of the crew. You're somehow more special. I hate that."
Author Name
Personal Development
"It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre."
Author Name
Personal Development
"A lot of actors don't like to see how they've done every day."
Author Name
Personal Development
"An actor without a playwright is like a hole without a doughnut."
Author Name
Personal Development
"You ask any actor - they'll tell you they'd rather shoot on location because you don't have to invent the energy, the energy is there."
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"Steven and I have worked together a lot and I'm far ahead of the curve than most people in knowing what he wants, but he knows far more than I know about what's important for the story. So, most of the changes he will make will involve story changes."
People
"I've done enough of this that I can tell early on if it's going in the wrong direction or not."
Direction
"It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible."
Work
"Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience."
Time
"And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world."
Movies
"Other times you can get showy for three minutes, and that's OK with certain films. But that isn't right with an Ang Lee movie, you have to fit right in. You have to understand Ang, respect him and be part of the team and not be in charge of it - he is in charge of it."
Respect
"So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically."
Design
"I think you've got to talk to the director, see the director's films and recognise that it's important that the work fits right in and see if as part of the movie."
Work
"Just going along with this, what I did, or what I do is I imagine not being myself seeing it, but imagine somebody else who's seeing it for the first time."
Time
"You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening."
Character
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