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Ed Harcourt

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Who's to say that every performer should be a good actor? Why can't you just be yourself?
--
"MusicOMH.com Interview" (2004)

 
Ed Harcourt

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I'm very concerned with the performer, but I'm not too concerned with the listener. It seems to me that if you can interest the performer and make him feel that he's done something really valuable, his playing will convince the audience just that. To write for the audience is just too uncertain. You never know what your audience may be like, but you can usually know what your performers will be like. A good musician has the training to appreciate all sorts of things you might try to do in a piece. A performer will also recognize whether a piece is skillfully written or original -- an audience might not always be so sure.

 
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What I hope is that I don't just become "Peter from The Lion, The Witch and The Wardrobe." I want to try and do something else to be a good actor and a respected actor.

 
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I won't retire. When you're an actor, you're forced to retire every few months. John Gielgud was 96 when he died, and he was working. It's good to work, whatever it is that keeps you interested. I would like to do that, I would like to keep going. I don't have kids, and I don't have hobbies. I don't particularly like to travel. If you're an actor, you have to travel anyway.

 
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I've always said that the actor is only an element of the image, rarely the most important. The actor is important with his dialogue, with the landscape, with a gesture — but the actor in himself is nothing.

 
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Kinski was not an actor - I wouldn't call him an artist either, nor am I. Of course, he mastered the techniques of being an actor, the technique of speech, of understanding the presence of light and of the camera, the choreography of camera and of bodily movements... But at the core of Klaus Kinski was not his existence as an actor - he was something beyond that and apart from it.

 
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