Actress Actor Quotes

I always am in a role, lovely – for you, for them – even for myself. Yeah... Even when I’m alone, I am still in a role – and I myself am the most exacting audience I have ever had.

Any actress who appears in public without being well-groomed is digging her own grave.

Are we not all actors playing parts in another person's play?

Sometimes in the afternoon sky the moon would pass white as a cloud, furtive, lusterless, like an actress who does not have to perform yet and who, from the audience, in street clothes, watches the other actors for a moment, making herself inconspicuous, not wanting anyone to pay attention to her.

an actress can only play a woman,I'm an actor I can play anything

Trust me, baby, you weren’t that good. I was just a better actress than you were actor. (Zephyra to Stryker) Ew! No offense, Mum, I don’t want to know who you’ve slept with. Kill the sexual bantering and him before I go deaf from it. (Medea)

People never forget two things, their first love and the money they wasted watching a bad movie.

Actors and actresses make magic,' I said. 'They make things happen on the stage; they invent; they create.

Audience can live without a movie but a movie cannot live without an audience.

Even the world’s greatest actor cannot fake an erection.

I became an artist because I wanted to be an active participant in the conversation about art.

One big bonus: e-mail! Just like the days back on Hermes, I get data dumps. Of course, they relay e-mail from friends and family, but NASA also sends along choice messages from the public. I’ve gotten e-mail from rock stars, athletes, actors and actresses, and even the President. One of them was from my alma mater, the University of Chicago. They say once you grow crops somewhere, you have officially “colonized” it. So technically, I colonized Mars. In your face, Neil Armstrong!

Here is to all the brilliant minds that love deeply, for they write the stories that make us dream of true love. Here is to all the visionaries that create a miracle when others give up hope. Here is to all the artists, musicians, actors, singers, songwriters, dancers, screenwriters, philosophers, inventors and poetic hearts that create a perspective of heaven we can experience in this lifetime. But most of all, here is to the wild souls that the world calls broken, insane, abnormal, weird or different because they are the ones that renew our faith, by what they overcome and create, in a world that needs a sign that God doesn’t forget the least of us.

I do a public access show with puppets. Puppets called actors, TV and movie stars.

A sex worker deserves a billion times more respect, than the mystical fraudsters of the society, such as astrologers, psychics and tarot card readers.

Actors, actresses, singers, sportsmen &women, and all the rest of this pile; why the hell do they call them stars?!! I guess because there are so damn plenty of them, more than you can even count!

An actress can only play a woman. I'm an actor, I can play anything

Make films that purify the soul with the flow of rational, vigorous and compassionate thinking.

The word ‘actress' or ‘authoress' always struck me as condescending. A doctor's a doctor, right? So I've always referred to ‘actors' and ‘writers,' regardless of their sex.

Living in California, everyone learns to adapt their actor or actress within.

You have to be a wonderful actress or actor to survive in this world.

I taught how to be sociable with ink on paper. I told my students that when they were writing they should be good dates on blind dates, should show strangers good times. Alternatively, they should run really nice whorehouses, come one, come all, although they were in fact working in perfect solitude. I said I expected them to do this with nothing but idiosyncratic arrangements in horizontal lines of twenty-six phonetic symbols, ten numbers, and maybe eight punctuation marks, because it wasn't anything that hadn't been done before. In 1996, with movies and TV doing such good jobs of holding the attention of literates and illiterates alike, I have to question the value of my very strange, when you think about it, charm school. There is this: Attempted seductions with nothing but words on paper are so cheap for would-be ink-stained Don Juans or Cleopatras!They don't have to get a bankable actor or actress to commit to the project, and then a bankable director, and so on, and then raise millions and millions of buckareenies from manic-depressive experts on what most people want. Still and all, why bother? Here's my answer: Many people need desperately to receive this message: "I feel and think much as you do, care about many of the things you care about, although most people don't care about them. You are not alone.

Lindsay [Doran] goes round the table and introduces everyone -- making it clear that I am present in the capacity of writer rather than actress, therefore no one has to be too nice to me.

Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.

gymnasts retire at 20, cricketers at 34, actresses at 32, actors at 75, salesmen at 50, other employees at 58 or 60 years, and doctors and lawyers when their bodies do not listen to their minds. Of course, one class beats them all — politicians retire at 90!

Dash it all, she’s an actress! Don’t take her so seriously. Actors don’t have opinions, my dear chap, still less do actresses. They have moods. Fads. Poses. Twenty-four-hour passions. There’s a lot wrong with the world, dammit. Actors are absolute suckers for dramatic solutions. For all I know, by the time you get her out there, she’ll be Born Again!

Give people films, they will forget after a few weeks, but give people ideas, they will assimilate them into their consciousness.

Creativity without discipline will struggle, creativity with discipline will succeed.

Acha alama katika dunia baada ya kuondoka.

A Film has the potential to kindle such a spark of inspiration in an individual that it can alter the course of human progress.

Entertain, but also, give the viewer something to think about.

As a logical thinker, I cannot help thinking, based on the evidence, that many people who exhibit dramatic reactions to bad news involving strangers are hypocrites. That troubles me. People like that hear bad news from across the world, and they burst into wails and tears as though their own children have just been run over by a bus. To me, they don’t seem very different from actors and actresses—they are able to burst into tears on command, but does it really mean anything?

You can say the Jesus Prayer from now till doomsday, but if you don't realize that the only thing that counts in the religious life is detachment, I don't see how you ever move an inch. Detachment, buddy, and only detachment. Desirelessness. 'Cessations from all hankerings.' It's this business of desiring, if you want to know the goddam truth, that makes an actor in the first place. Why're you making me tell you things you already know? Somewhere along the line - in one damn incarnation or another, if you like - you not only had a hankering to be an actor or an actress but to be a good one. You're stuck with it now. You can't just walk out on the results of your own hankerings. Cause and effect, buddy, cause and effect. The only thing you can do now, the only religious thing you can do, is act. Act for God, if you want to - be God's actress, if you want to. What could be prettier?

When I see an actress or actor drag deeply in a movie, I imagine the pyrenes and phenols ravaging the tender epithelial cells and hardworking cilia of their bronchi, the monoxide and cyanide binding to their hemoglobin, the heaving and straining of their chemically panicked hearts.

Actresses talking about characters they’ve played often use the phrase “strong woman”, which kind of irks me. Firstly, the description appears to be reserved for two kinds of female: the gun-toting chick in tiny-vest-and-shorts combo, or the tough-talking businesswoman who secretly longs for a man to bring out her softer side. So obviously, our idea of strength is pretty narrow and one-dimensional. Secondly, why isn’t Brad Pitt ever asked about how much he enjoys playing a “strong man”? Is it automatically assumed that men’s roles will be complex and interesting?

Joel did not quite believe in picture actresses' grief. They have other preoccupations—they are beautiful rose-gold figures blown full of life by writers and directors, and after hours they sit around and talk in whispers and giggle innuendoes, and the ends of many adventures flow through them.

It is not upon you alone the dark patches fall, The dark threw its patches down upon me also, The best I had done seem’d to me blank and suspicious, My great thoughts as I supposed them, were they not in reality meagre? Nor is it you alone who know what it is to be evil, I am he who knew what it was to be evil, I too knitted the old knot of contrariety, Blabb’d, blush’d, resented, lied, stole, grudg’d, Had guile, anger, lust, hot wishes I dared not speak, Was wayward, vain, greedy, shallow, sly, cowardly, malignant, The wolf, the snake, the hog, not wanting in me, The cheating look, the frivolous word, the adulterous wish, not wanting, Refusals, hates, postponements, meanness, laziness, none of these wanting, Was one with the rest, the days and haps of the rest, Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing, Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat, Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word, Lived the same life with the rest, the same old laughing, gnawing, sleeping, Play’d the part that still looks back on the actor or actress, The same old role, the role that is what we make it, as great as we like, Or as small as we like, or both great and small." -from "Crossing Brooklyn Ferry

The role of the director is to create a space where the actresses and actors can become more than they have ever been before, more than they have ever dreamed of being.

Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.

Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.

Take the clapper and become the alarm that the world so desperately needs.

Use filmmaking to eliminate racism – use to it terminate misogyny – use it to destroy homophobia and all other primitiveness.

ARE YOU A MOVIE STAR? Prerequisite for Laziness: Creativity, award winning actor/actress, convincing speech

I am not an actress. I am a mistress of disguise. Acting happens to be one of the perks

Just been told that I've been in a car crash with Stephen Merchant. I was eating cereal in my pj's when I heard. I hope I'm ok.

This world has got followers for every type of personality, right from the stupid saint to smart terrorist, talented comedian to non-sense politician, beautiful actress to ugly actor

Looking back, I could probably have been more sympathetic. I could see why Lana was disappointed—as Barbara West used to put it, “An actress is a little bit more than a woman. An actor, a little bit less than a man.

For everyone, though, the persona must relate to objects and protect the subject. This is its dual function. While introverts can be very outgoing with a few people, in a large group they shrink and disappear and the persona often feels inadequate, particularly with strangers and in situations in which the introvert does not occupy a defined role. Cocktail parties are a torture, but acting a role on stage may be a pure joy and pleasure. Many famous actors and actresses are quite deeply introverted. In private they may be shy, but given a public role they feel protected and secure and can easily pass as the most extroverted types imaginable.

Today...major actors and actresses develop their own projects or, at the very least, cherry-pick their roles carefully to suit not only their tastes but also whatever image they have cultivated to present to their public. Most major stars have their own production companies through which such projects are developed and even financed. While the biggest male stars of that time did in fact have their own production companies--Jimmy Stewart, Kirk Douglas, John Wayne, and Burt Lancaster, to name a few--and thus exerted creative and financial control over their careers, that was not the case with female stars. But Marilyn Monroe was about to change that.

And for the first time in years, Rick realizes how fortunate he is and was. All the wonderful actors he's worked with through the years—Meeker, Bronson, Coburn, Morrow, McGavin, Robert Blake, Glenn Ford, Edward G. Robinson. All the different actresses he got to kiss. All the affairs he had. All the interesting people he got to work with. All the places he got to visit. All the fun stories he got to live. All the times he saw his name and picture in the papers and magazines. All the nice hotel rooms. All the fuss people made over him. All the fan mail he never read. All the times driving through Hollywood as a citizen in good standing. He looks around at the fabulous house he owns. Paid for by doing what he used to do for free when he was a little boy: pretending to be a cowboy.

We also had Charlie’s Angels actress Farrah Fawcett, who became a friend. Years later, when Farrah was sick, she would ask if she could spend her last days in my home because she wanted to see the ocean. Ryan denied her, saying, “If she wants to see the ocean, she could stay at my house.

You know, one thing I learned about actors and actresses - I mean the big stars. They can be the most ignorant people if they get caught up in it very young. Some of them are damn near illiterate. And emotionally they're like people who have grown up in the penal system. I mean, they cannot control their emotions at all.

But you'll see producers and theatre owners with a billion dollars worth of theaters come in here for lunch and you know why? Because it's cheap. You see those pictures on the wall? All young actors and actresses who you will never hear about in your life... And when 'dis place is gone, the entire Broadway will slide into the East River.

I knew exactly when the fever had struck. I had been reading Hamlet in an English class at school. Everyone else stumbled, puzzling over the strange words. Then it had been my turn, and the language had suddenly woken in me, so that my heart and lungs and tongue and throat were on fire. Later, I understood that this was why people spoke of Shakespeare as a god. At the time, I felt like weeping. Somebody had released me from dumbness, from utter isolation. I knew that I could live inside these words, that they would give me a a shape, a shell. I had no idea, then, that I would never play Hamlet…. I’m an actor, and in a good year I earn eleven thousand pounds for dressing up as a carrot.

A play that would have had a fair chance of success a few years back failed now to draw at all, and screen stars from Hollywood bathed in the glamour that had once invested English actors and actresses. The new talkies had seized the public fancy, developing into as great a craze, and with the same popular appeal, as the dancing boom of the immediate postwar years.

Which do you prefer, Sir Gerald?’ asked an anxious and hopeful reporter, his stub of pencil in his hand. ‘Acting for the films or acting on the stage?’ ‘I prefer strolling down the street,’ said Gerald, smothering a yawn. It was a typical reply, and must have astonished the young journalist, used to interviewing actors and actresses who declaimed about their Work with a capital letter.

Celebrities are our heroes and heroines now, discussed the next day over latte or lunch. We have such a strong need to talk to each other, to have some commonality of story, that we're finding it in celebrities. In effect, we're turning reality into fiction. Using actors and actresses, just off duty. And how is this working for us? Not great. It leaves us with a perennially empty feeling. We find the celebrities empty, and at some level, we find ourselves empty for paying them so much attention. We've become reluctant voyeurs, and at some level, we know they're just people trying to live their lives. Our culture begins to lack content, depth, and substance. We miss the richness of human experience that story embodies, reflects, and carries forward. We might have to go back to reading books. Yay!

After these walk-ons, she would banter with announcer Ken Niles and perhaps indulge in more stargazing. In her memoir, radio actress Mary Jane Higby recalls working the show. The “underpaid radio actors” soon took to calling themselves “the Gay Ad-Libbers.” They “would circle the microphone, trying to simulate people having a marvelous time. ‘What fun to be here!’ they would cry. ‘My, doesn’t Myrna Loy look gorgeous! Whoops, there’s Bette Davis!

One of the most interesting accomplishments of the film community, it seems to me, is that it has made real for America the exquisite beauty of incompatibility. Divorce among the gods possesses the sweet, holy sadness that has long been associated with marriage among the mortals. There is something infinitely tender about the inability of an actor to get along with an actress. When it is all over, and the decree is final, the two are even more attentive to each other, are seen oftener together, than ever before.

If you like to wonder about what you have done in life...know that wondering is about weighing the worth of your actions. To be able to do so would mean having the knowledge of that what constitutes action. Or even inaction. For somewhere in the realm of knowledge, you cease to be the actor or actress. Deeper within, you would realize that you never were for you could never be the actor or the actress! For you have done nothing since you can do nothing! But it is good to begin wondering in the first place. It already puts you ahead in the path of progress!

Actress Winona Ryder, who starred in Beetlejuice, Mermaids, Bram Stoker’s Dracula, and Little Women thought she had it all. She was famous, making lots of money, and was romantically involved with actor Johnny Depp. But it wasn’t enough. She shared in an interview in October 2000, “When I was 18, I was driving around at two in the morning, completely crying and alone and scared. I drove by this magazine stand that has this Rolling Stone that I was on the cover of, and it said, ‘Winona Ryder: The Luckiest Girl in the World.’ And there I was feeling more alone than I ever had.

Wild Times Since Mexico accepted communism as a legitimate political party during the 1920’s and allowed refugees greater flexibility of thought, it became a haven from persecution. Moreover, living in Mexico was less costly than most countries, the weather was usually sunny and no one objected to the swinging lifestyle that many of the expats engaged in. It was for these reasons that Julio Mella from Cuba, Leon Trotsky from Russia and others sought refuge there. It also attracted many actors, authors and artists from the United States, many of whom were Communist or, at the very least were “Fellow Travelers” and had leftist leanings. Although the stated basic reason for the Communist Party’s existence was to improve conditions for the working class, it became a hub for the avant-garde, who felt liberated socially as well as politically. The bohemian enclave of Coyoacán now a part of Mexico City, where Frida Kahlo was born, was located just east of San Angel which at the time was a district of the ever expanding City. It also became the gathering place for personalities such as the American actor Orson Welles, the beautiful actress Dolores del Río, the famous artist Diego Rivera and his soon-to-be-wife, “Frida,” who became and is still revered as the illustrious matriarch of Mexico.

In a YouTube video made by actor Ashton Kutcher just after Obama’s inauguration, dozens of Hollywood celebrities pledged “to be a servant to our president and all mankind.”28 It was like something out of an Aztec festival of the gods—if what the Aztec gods wanted was for Hollywood actresses like Eva Longoria to use “less bottled water.” I don’t remember Frank Sinatra and Bob Hope producing a video pledging themselves to be servants of Ronald Reagan. In fact, if anyone had ever made a video with people reading the exact same lines as Demi and Ashton’s friends about a Republican president, MSNBC would be running specials on the rise of fascism in America.

I have spoken of reinventing marriage, of marriages achieving their rebirth in the middle age of the partners. This phenomenon has been called the 'comedy of remarriage' by Stanley Cavell, whose Pursuits of Happiness, a film book, is perhaps the best marriage manual ever published. One must, however, translate his formulation from the language of Hollywood, in which he developed it, into the language of middle age: less glamour, less supple youth, less fantasyland. Cavell writes specifically of Hollywood movies of the 1930s and 1940s in which couples -- one partner is often the dazzling Cary Grant -- learn to value each other, to educate themselves in equality, to remarry. Cavell recognizes that the actresses in these movie -- often the dazzling Katherine Hepburn -- are what made them possible. If read not as an account of beautiful people in hilarious situations, but as a deeply philosophical discussion of marriage, his book contains what are almost aphorisms of marital achievement. For example: ....'[The romance of remarriage] poses a structure in which we are permanently in doubt who the hero is, that is, whether it is the male or female who is the active partner, which of them is in quest, who is following whom.' Cary grant & Katherine Hepburn "Above all, despite the sexual attractiveness of the actors in the movies he discusses, Cavell knows that sexuality is not the ultimate secret in these marriage: 'in God's intention a meet and happy conversation is the chiefest and noblest end of marriage. Here is the reason that these relationships strike us as having the quality of friendship, a further factor in their exhilaration for us.' "He is wise enough, moreover, to emphasize 'the mystery of marriage by finding that neither law nor sexuality (nor, by implication, progeny) is sufficient to ensure true marriage and suggesting that what provides legitimacy is the mutual willingness for remarriage, for a sort of continuous affirmation. Remarriage, hence marriage, is, whatever else it is, an intellectual undertaking.

had read a description of this ability to act so well in public in Czeslaw Milosz’s book The Captive Mind, in which he describes life in 1950s Poland under the authoritarian influences of Nazism and Stalinism. He writes that in such circumstances people must, of necessity, become actors and actresses. ‘One does not perform on a theatre stage,’ says Milosz, ‘but in the street, office, factory, meeting hall, or even the room one lives in. Such acting is a highly-developed craft that places a premium upon mental alertness. Before it leaves the lips every word must be evaluated as to its consequences. A smile that appears at the wrong moment, a glance that is not all it should be can occasion dangerous suspicions and accusations.

All that day we went about stunned – we, the small town of real people behind the corporate logo of a ringed blue planet spinning through starry space. In the studio's Corner Store, in small groups that met on the company streets and in a hundred offices, we pieced our own experiences together with what was coming to light in the media. The suspect: a deranged, 43-year-old drifter who two days earlier had allegedly killed three people in Albuquerque, NM. He had fled to California where for reasons unknown he had been trying to contact actor-producer Michael Landon on the day of the shootings. The employees he had approached had repeatedly turned him away, since Landon had no particular connection with our studio. But just after dark the man had come back to the main gate again. He had walked up to a young actress waiting for her ride after an audition, said "hello" to her and then stepped over to the guardhouse. "I heard a shot and looked up," a secretary who had been passing nearby told me. "I saw Jeren fall and heard him groan. And there was this guy in a gray jacket just standing over him, pointing down at him with a gun. Then he raised the gun and pointed it at the other guard and shot again, and I saw Armando fall out the other side of the guardhouse. For a split second – just because we're at a movie studio – I thought it must be a movie they were filming. But there weren't any lights or cameras, and I realized it was real, and I thought, ‘He's gonna come after us because we saw it!' So I ran. I felt I was running for my life.

In a press interview at the time, Gable said, “My days of playing the dashing lover are over. I’m no longer believable in those parts. There has been considerable talk about older guys wooing and winning leading ladies half their age. I don’t think the public likes it, and I don’t care for it myself. It’s not realistic. Actresses that I started out with like Joan Crawford and Barbara Stanwyck have long since quit playing glamour girls and sweet young things. Now it’s time I acted my age. “Let’s be honest,” he continued. “It’s a character role, and I’ll be playing more of them. There’s a risk involved, of course. I have no idea if I can attain the success as a character actor as I did playing the dashing young lover, but it’s a chance I have to take. Not everybody is able to do it.

Lovers of God possess intense concentration. In prayer their attention rivets itself so completely onto God that nothing can tear it away. Even a suggestion of the divine may draw them into a higher state of consciousness. Occasionally this can be somewhat inconvenient. Sri Ramakrishna once went to see a religious drama produced by his disciple. The curtain went up and a character started singing the praises of the Lord. Sri Ramakrishna immediately began to enter the supreme state of consciousness. The stage faded; the actors and actresses faded. As only a great mystic can, he uttered a protest: "I come here, Lord, to see a play staged by my disciple, and you send me into ecstasy. I won't let it happen!" And he started saying over and over, "Money... money...money," so as to keep some awareness of the temporal world.

Question number four: I read somewhere that you were an actor before you became an author. CC: That sounded more like a judgement than a question. MG: It was. Usually people pick a career in medicine or business to fall back on. With your chosen professions, it's like you decided to sail upstream without a paddle or a canoe. CC: Well, performing and writing have always been the same thing to me. You get to be a storyteller in both fields, and at the end of the day, I suppose a storyteller is what I consider myself the most. MG: Well, la-di-da. I know what you mean, though. I was an actress myself back in the golden days of Hollywood - you know, before all this streaming trash. CC: Would I recognize your work? MG: Did you ever see the film Gone with the Wind? CC: Of course! MG: I supplied the wind. CC: [A beat of silence.} How much longer is this interview going to take?

SOME GREAT ACTORS are like musicians who just happen to be brilliant at their instrument. They are, in every other way, perfectly normal, but they have this extraordinary ability, and the instrument they’ve learned to play is their own emotions. Sandrine Bonnaire is like that. So is Sandrine Kiberlain. Others are people whose emotional lives are so interesting in themselves that there is no question that they belong on screen. Valeria Bruni Tedeschi falls into this category. Their craft consists of transforming their hypersensitive natures into a kind of instrument, flexible enough to assume the shapes and contours that their various characters require. Karin Viard, who emerged as a major star in 1999, is not in either of those categories. She is not playing an instrument. She is not creating an instrument. It is more as if she is the instrument. Her talent is so huge, and her access to it so immediate that she requires no process to turn Jekyll into Hyde. Obviously, this is too facile a description to be completely accurate or to do justice to the effort that her performances require. But one really does get the impression that Viard could get thrown into any artistic ocean and end up doing an Olympics-worthy butterfly stroke in record time.

So now George has arrived. He is not nervous in the least. As he gets out of his car, he feels an upsurge of energy, of eagerness for the play to begin. And he walks eagerly, with a springy step, along the gravel path past the Music Building toward the Department office. He is all actor now—an actor on his way up from the dressing room, hastening through the backstage world of props and lamps and stagehands to make his entrance. A veteran, calm and assured, he pauses for a well-measured moment in the doorway of the office and then, boldly, clearly, with the subtly modulated British intonation which his public demands of him, speaks his opening line: "Go od morning!" And the three secretaries—each one of them a charming and accomplished actress in her own chosen style—recognize him instantly, without even a flicker of doubt, and reply "Good morning!" to him. (There is something religious here, like responses in church—a reaffirmation of faith in the basic American dogma that it is, always, a good morning. Good, despite the Russians and their rockets, and all the ills and worries of the flesh. For of course we know, don't we, that the Russians and the worries are not really real? They can be un-thought and made to vanish. And therefore the morning can be made to be good. Very well then, it is good.)

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Lillian was determined that her next role would be Hester Prynne in Nathaniel Hawthorne’s The Scarlet Letter and assumed she only needed to find the right actor to play opposite her as Reverend Dimmesdale. Mayer informed her there was a much larger issue at stake; The Scarlet Letter was on the Hays office “blacklist” of books that could not be filmed. The very idea of a blacklist was ridiculous to Lillian and she took up the matter directly with Will Hays. While he would occasionally publicly chastise the studios, Hays never forgot that the full name of his office was the Motion Picture Producers and Distributors of America and worked to smooth the path any and every way he could. He told Lillian that the major source of objection was “the Protestant Church, especially the Methodists,” and directed her to the heads of several church and women’s organizations where she forcefully presented her case. Even with Hays’s assistance, no other actress had the personal and professional reputation pure enough to garner the response she received: the ban would be lifted if she was “personally responsible” for the film. Lillian turned her attention to finding the consummate Dimmesdale and Mayer suggested she watch Lars Hanson in The Saga of Gosta Berling. The studio boss had seen Mauritz Stiller’s film in Berlin the previous December and he immediately put the director and the film’s three stars, Hanson, Mona Martenson, and Greta Gustafsson, all under contract. Lillian agreed Hanson was “perfect” and was enthusiastic when Thalberg suggested the experienced Swede Victor Seastrom (Sjöström) direct, for she believed he had “Mr. Griffith’s sensitivity to atmosphere.” And so the ban was lifted from The Scarlet Letter, Lars Hanson was coming from Sweden, Victor Seastrom was assigned to direct, and now it was Irving Thalberg’s problem. He had no script. Lillian would later say that Irving “told me that Frances Marion and I could adapt it,” but it was hardly that simple.

At first, they joked about it but as they became more detoxed and more assertive from therapy, paid ironically by the husbands, they began to realize that they each had unique strengths and powers and a burning desire for revenge. Between the Three Wise Women they had an IT expert, an actress and a supermodel, all very wealthy and beautiful. All the three men’s’ brains appeared to reside in their pants and they wondered if they set a honey trap could it possibly work. A plan was proposed by Felicity and she called it Operation Devastation. Angelina would hack into their MIS computer systems, bug their telephones, offices, cars and homes. Ava would seduce Ryan, who owned Novels and the computer firm, Angelina’s husband in a honey trap and get it all on DVD for the divorce court. Then Ava would seduce Felicity’s husband, James, the Irish footballer. Finally, Sean who was Felicity’s friend who was an out of work actor would seduce Patrick

That era provided a profusion of wonderful actors and actresses to admire—and not always the ones remembered by posterity. Take Joel McCrea, for instance, a real cowboy and a good actor who could excel in westerns like Union Pacific or The Virginian, but who was also wonderful in comedies like The Palm Beach Story for Preston Sturges—and comedy is the hardest thing an actor can do.

A lot of people want to know ‘How do I get my hair to look like so-and-so’s?’” Jeri observes. “They go to their hairdresser with a picture and say, ‘I want to look like that.’ Now, first of all, styling hair in the television industry does not necessarily have anything to do with a haircut. It’s styling, and the audience has to realize that this is a style that is maintained all day long. They don’t walk out of the trailer and never get touched again, like normal people in the regular world. They have somebody chasing behind them, making sure that every hair is in place. So to take a photograph of an actor and expect to look like that, they can cut your hair the same way, but if you don’t do the styling, all you’re stuck with is a haircut you don’t know what to do with. “I think the most important thing is that everybody needs to seek their own look, what makes them beautiful. It has nothing to do with what the actress looks like and nothing to do with wanting to be like them. You have to be yourself. I’m hoping that’s what has evolved on Buffy. She kinda looks like herself. She doesn’t try to create a hairstyle that takes hours to do. Fifteen minutes. Sometimes you have to work with what hair that you have. She is sixteen years old. I don’t want her hair to look like she came out of a salon. I’m hoping that we’re creating things that people can do, they’re not difficult to do. It’s a matter of really liking your face and being able to stand in front of the mirror and move [your hair] around until you balance your face.” Jeri Baker

In 1921, actor Fatty Arbuckle was arrested for the rape and murder of an aspiring actress named Virginia Rappe, who had been drunk and injecting morphine at the time of her murder.

Why the most people and especially the girls prefer film actors and actresses photos to display their affection, is it the weakness or phobia, why do they not choose academic and prominent literary figures to show their soberness?

In a letter, he described it as “a painfully big city wherein dwell practically no native sons of The Golden West, but a heterogeneous mob of movie actors and actresses and emigrants from Kansas, Nebraska, Iowa . . .

The words were simple, the sentiment was true, and Hannah knew that marriage was supposed to last a lifetime. But hearing such grave words on this joyous occasion always reminded her of an opening line in a television murder mystery. In the next shot, the groom would kiss the bride and the whole congregation would mirror their happy smiles. Then the camera would pull back, and the music would change to a minor key. Something was about to happen, something ominous. Someone was going to die before the first commercial break, and you could almost bet that the victim would be one-half of the bridal couple, most likely the actor or actress who was lesser known and lesser paid.

Now I have a list of several producers, directors, actors and actresses who all request me. I pick and choose who I work for and when. I’ve met some amazing people and people that others wish they could meet—

A movie is not a movie, it is a potential nuclear furnace of inspiration, courage and conscience.

The world is captivated by Hollywood superstars, music artists, and sports personalities. Hollywood is portrayed as the epitome of beauty and fashion capital of the world. Whatever the actors and actresses are wearing dictate the fashion trends and lifestyle being followed by fans in a global scale. The said movie and music characters never fail to amuse and amaze us with their clothes, shoes, bags, and hairstyles. The most popular shoes are the high heel booties studded with gems, gold, and anything sparkling in-between. You certainly wonder how they can perform dance and stage stunts with these booties heels. Women look so attractive donning high heel booties. They get few extra inches in height and look stunning from head to toe. If you are going for mall shopping or walking long distances, stay away from heeled bootiesas your feet will surely get hurt. However, if you are attending special occasions and corporate functions, heel bootiesis the perfect footwear.

The art of filmmaking is the most influential form of art that has ever existed throughout the history of human artistic endeavors.

Make movies my friend – make nice, inspiring and bold movies that will penetrate the darkest corners of the human mind and illuminate the soul.

The characters so many Bollywood actresses portray are ultimately flat, uncomplicated, two-dimensional stock characters that typically range between the girl-next-door and the diva. They may be flawed in small ways, but ultimately lack nuance, conform to and reinforce cultural expectations of a wholesome but ultimately submissive Indian women. The likability of these flat and boring characters hold the actresses' off screen reputations in good stead but reinforce the very norms that imprison and render so many Indian women vulnerable to disrespect and sexism.

Ruthledge himself was the guiding light, the good Samaritan. He had a daughter, Mary, who grew up without a mother. Helping him raise the child was a kindly housekeeper, Ellen. Then there was Ned Holden, abandoned by his mother, who just turned up one night; being about Mary’s age, he forged a friendship with the little girl that inevitably, as they grew up, turned to love. They were to marry, but just before the wedding Ned learned that his mother was convicted murderess Fredrika Lang. What was worse, Ruthledge had known this and had not told him. Feeling betrayed, Ned disappeared. He would finally return, crushing Mary with the news that he now had a wife, the vibrant actress Torchy Reynolds. Also prominent in the early shows was the Kransky family. Abe Kransky was an orthodox Jew who owned a pawnshop. Much of the action centered on his daughter Rose and her struggle to rise above the squalor of Five Points. Rose had a scandalous affair with publishing magnate Charles Cunningham (whose company would bring out Ned Holden’s first book when Ned took a fling at authorship), only to discover that Cunningham was merely cheating on his wife, Celeste. In her grief, Rose turned to Ellis Smith, the eccentric young artist who had come to Five Points as “Mr. Nobody from Nowhere.” Smith (also not his real name) took Rose in to “give her a name.” The Kransky link with the Ruthledges came about in the friendship of the girls, Rose and Mary. In 1939, in one of her celebrated experiments, Phillips shifted the Kranskys into a new serial, The Right to Happiness. The Ruthledge-Kransky era began to fade in 1944, when actor Arthur Peterson went into the service. Rather than recast, Phillips sent Ruthledge away as well, to the Army as a chaplain. By the time Peterson-Ruthledge returned, two years later, the focus had moved. For a time the strong male figure was Dr. Richard Gaylord. By 1947 a character named Dr. Charles Matthews had taken over. Though still a preacher, and still holding forth at Good Samaritan, Ruthledge had moved out of center stage. The main characters were Charlotte

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Whatever movie or documentary or any videos I watch in any languages, I scan each and every cast in each and every second of their motion, acting, body language, orientation, how they play - because each second of the movie not only portrays the plot but also portrays what government wants and each second of every cast also portrays who they are( The actors and Actresses), You can deviate the truth but can not deny the truth. So make still 1000 movies or even stronger AI, few people will never be under this because they have dreams beyond imagination and it is because they are born for it. But we will continue watching all movies in all languages just because we don't want to waste your work, you work must be appreciated well.

I thought i think i’m thinking the bangladeshi people bangladeshi some of people not the lot’s of people because lot’s of actor actress lot’s of journalistht is a giving me the hi giving me the is a good way wishes for the award but lot’s of but few people is all over in the country view of journalisht few of people is not the happy for the award because of zelas

The question at all times is: How are you helping to make sure this movie is amazing? The best it can be. Are you making your fellow actors and actresses better? Is that your intention?

Many well-known screen actors and actresses changed their names to match the screen images created by the Hollywood dream factories and to distance themselves from their ethnicities.

My evening was a perfect demonstration of how hard it is for one side to really understand the other. I think Hollywood feels more comfortable welcoming directors who are convicted pedophiles, famous actresses who are also thieves, boxers who are convicted rapists, directors who push cocaine, rappers who sell heroin, singers who solicit prostitutes, and actors who beat up their woman than a Republican in their midst. In fact, the people who fit into those categories still enjoy the professional adoration of their peers in Hollywood, even amidst the suspicion and guilt. It's like the only that can really ruin your reputation as a celebrity is to come out as a Republican.

No. We’ve never met any actresses–or actors, for the matter of that–until Sir Charles came to live here. And that,” added Mrs. Babbington, “was a great excitement. I don’t think Sir Charles knows what a wonderful thing it was to us. Quite a breath of romance in our lives.

The story was okay, but the acting bothered Andrei. Sometimes he would watch a scene and then it would go to the next; Andrei would blink, bewildered at the time that had passed. The film just went by. Scenes would jump to the next but his mind was the same. Why? He noticed that the lead actress in her later years was extremely gorgeous, except some sharp concentration in him blocked out her beauty. This seated heart screamed for the movie to shatter him. And it drew upon him that this was another film that the world was not bothered by of its acting. In fact, they did not even see it. In its short scenes, audiences were hypnotized for an average of five to eight seconds by an actor’s beauty and if the editor timed it right, and with enough spectacle, movies could get away with doing nothing. Gorgeousness stimulated the mind. “Wow, they are so beautiful,” the audience was forced to think—and then by jumping to the next beautiful part fast enough there was something called a movie. And the movie seemed to use the actors’ appearances to drive most of the scenes. And many actors in different scenes sort of just stood there, handsome, and whispering. That was their strategy—mumbling murmurs of breath and rasp. Their indecisive bodies were unnaturally still, as though they had close-ups when the shot was wide. All of the actors’ voices were dumbly lowered to a safe natural cadence while in an unnatural situation and yet seeming real, no actual thought needed to be shown. 'Beauty is good,' says the industry. 'Sell that. Sell beauty! Make it beautiful. Ugly stories about beautiful people. It naturally turns a crap film into a decent one. The people are left with a good impression, as though having watched something fascinating. Make sure to let the camera sit on those beautiful people and their faces will give the audience something impossible to understand and give us runtime while they gaze. But having ugly people in it, people that look like people, actors that look like their audience—er, that’s not so profound,' says the industry. It was why the scenes moved without Andrei knowing: nothing was done by its actors.

She knew about pity. Every day, every day, people walked on clouds of illusion. In that play at the Theatre Royal there was an actress who thought herself lovely, and who was plump and too old for the part. The leading actor meant to be brilliant and subtle, yet no single gesture or inflexion was inspired by talent. Clare’s heart was wrung. She suffered for them, loved and shielded them. When they bowed before the curtain and beamed at the applause, tears rolled down her cheeks. It was unbearable. They must never know.

We came to earth to fulfill certain roles or characters, so that future actors and actresses can gain knowledge and insight from the experiences of those who came before them.

Concerned about attitudes toward worship and practices in worship in the churches of his time, Søren Kierkegaard, a nineteenth-century Danish philosopher/theologian, compared what was taking place in the theater and what was happening in Christian worship. In a theater, actors, prompted by people offstage, perform for their audiences. To his dismay, Kierkegaard found that this theatrical model dominated the worship practices of many churches. A minister was viewed as the on-stage actor, God as the offstage prompter, and the congregation as the audience. Unfortunately, that understanding of worship remains as prevalent as it is wrong. Each ingredient of the theatrical model mentioned by Kierkegaard is an essential component in Christian worship. Crucial, though, is a proper identification of the role of each one. In authentic worship, the actor is, in fact, many actors and actresses—the members of the congregation. The prompter is the minister, if singular, or, if plural, all of the people who lead in worship (choir members, instrumentalists, soloists, readers, prayers, preachers). The audience is God. Always, without exception, the audience is God! If God is not the audience in any given service, Christian worship does not take place. If worship does occur and God is not the audience, all present participate in the sin of idolatry.3

Cooper caught a break with a featured role as a doomed aviator in Wings (1927), but Walter remained on the periphery, observing the unwritten rule that extras did not consort with stars, yet taking pride in work that reinforced the function of character actors. As character actress Beulah Bondi said, “We are the mortar between the bricks.” For Walter Brennan, it was enough to know that a chosen few—Joan Crawford, Norma Shearer, Gary Cooper, Clark Gable—began as extras and ended as stars. For a television documentary, the actor Richard Arlen, one of the stars of Wings, was asked what Walter Brennan was like in these early days as an extra. “He was not too unlike Gary Cooper in his mannerisms in those days. A slow way of talking—very much like Will Rogers,” said Arlen. “Walter sounded very much like he does today. Very dry and one of the nicest men I’ve known.

I know that you see the world with different eyes, with your eyes. You create an entire picture or movie in your mind, and in that picture you are the director, you are the producer, you are the main actor or actress. Everyone else is a secondary actor or actress. It is your movie.