I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.

I felt pretty comfortable with Westerns, apart from the fact I couldn't ride.

I was never a part of the Actor's Studio, because two friends of mine started it in 1947 and by that time I'd gone to California.

Kazan was an old friend, I met him in 1938. He picked up radio jobs for eating money, so I met him on a couple of radio shows. Later on I was in a play he directed.

Most movies are made today for teenage boys. Once in a while a good one comes along.

Many of my friends were blacklisted. America should be ashamed of it forever.

Marilyn was terrible to work with. I was fond of her, she was a nice girl, but she was a damaged girl. She was very difficult. You couldn't get her on the set; she didn't know the words.

Hoods are good parts because they're always flashy and attract attention. If you've got any ability, you can use that as a stepping stone.

I loved Jack Ford. I got him in his later days, and he was a total tyrant and a total autocrat and an Irish drunk. But I had a great time.

Cheyenne Autumn was received not too successfully. I still think it was a very good movie. It was kinda Ford's apology for the way he had treated Indians in his past pictures.

Mankiewicz was a brilliant director.

John Ford was so funny that I couldn't wait to go to work in the morning.

I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.

Gary Cooper was a good friend. He was a great nature lover. He was like an American Indian, he knew every leaf that was turned over. It was an education to go for a walk with him.

Ford used to come to work in a big car with two Admiral's flags, on each side of the car. His assistant would be there with his accordion, playing, Hail to the Chief.

I think a performer should do his work and then shut up.

Anne Baxter was a very good actress, Donna Reid was great. You couldn't name an actress I wasn't crazy about.

A lot of actors said they hated the studio system, but I loved it. It was like a college; it was a great place to learn.

Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.

You have to compromise all the way. The only thing that counts is the result.

There was something about Marilyn. She couldn't act her way out of a bag, but she became an icon because something happened between her and the lens, and no one knows what it is.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.

And what's interesting about him as a comic character is that the custard pie hardly ever ends up on his face.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

I didn't want to be greedy. It's a mark of bad character and I always believed that pigs go the slaughterhouse.

The analysis of character is the highest human entertainment.

Love is the expression of one's values, the greatest reward you can earn for the moral qualities you have achieved in your character and person, the emotional price paid by one man for the joy he receives from the virtues of another.