Thoughts and feelings are suspended in a vacuum unless they instigate and feed the selected actions, and it is the characters actions which reveal the character in the play.

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To rebel or revolt against the status quo is in the very nature of an artist.

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The need to be loved and protected is at a peak when we feel abandoned and are particularly vulnerable to difficult circumstances.

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Theoretically, the actor ought to be more sound in mind and body than other people, since he learns to understand the psychological problems of human beings when putting his own passions, his loves, fears, and rages to work in the service of the characters he plays. He will learn to face himself, to hide nothing from himself- and to do so takes AN INSATIABLE CURIOSITY ABOUT THE HUMAN CONDITION

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The actor must know that since he, himself, is the instrument, he must play on it to serve the character with the same effortless dexterity with which the violinist makes music on his. Just because he doesn't look like a violin is no reason to assume his techniques should be thought of as less difficult.

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I love going to the movies; I love watching good movie actors. They must know something I don't.

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One cannot demand of art that it pay you in any other way than in the satisfaction of the work itself.

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It must be noted that it is often the colleague or direct disciple of a new thinker who gets stuck in literal interpretations of the work, tending to freeze the new ideas and language into an inflexible, static condition.

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For some strange reason, we believe that anyone who lived before we were born was in some peculiar way a different kind of human being from any we have come in contact with in our own lifetime. This concept must be changed; we must realize in our bones that almost everything in time and history has changed except the human being.

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If you want a bourgeois existence, you shouldn't be an actor. You're in the wrong profession.

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