Quotes about actor

page 7

‘Don’t hurry’ http://www.khaleejtimes.com/article/20140716/ARTICLE/307169979/1057

2009 speech at the opening ceremony for Chekhov Studio International Los Angeles ( online http://chekhovstudio.com/2013/07/inspiring-quotes/ and books.google.com http://books.google.com/books/about/The_Spirit_of_Creation_Discipline_and_At.html?id=jqMInoDQoxMC)

The Guardian http://www.guardian.co.uk/stage/2009/may/16/ethan-hawke-cherry-orchard-old-vic-mendes (2009-05-16)
2005–2009

Note-Book of Anton Chekhov (1921)

Part One, Eight
The Dud Avocado (1958)

Source: The transformation of corporate control, 1993, p. 89

Euro Trash Cinema magazine interview (March 1996)

Interview: Tobin Bell Discusses His Career and His New Horror Film Dark House https://editorial.rottentomatoes.com/article/interview-tobin-bell-discusses-his-career-and-his-new-horror-film-dark-house/ (March 14, 2014)

Salon, November 2009

In The Making (1970)

On getting her role as "Paikea" in Whale Rider, as quoted in the actor profiles http://www.whaleriderthemovie.com/html/castcrew_cast.html at the official Whale Rider site http://www.whaleriderthemovie.com/.

Reason and Rationality (2009)

Betsy Pickle (June 1, 1997) "Redefining Himself, On and Off-Camera", The Knoxville News-Sentinel, p. T4.

Interview with Ekyse Knox http://www.westernclippings.com/interview/elyseknox_interview.shtml

Statement by Alfred de Zayas on World Water Day 22 March 2013 http://www.ohchr.org/en/NewsEvents/Pages/DisplayNews.aspx?NewsID=13175.
2013

John Martin-Harvey (1944).

Perfidy
Books

Source: Voices offstage: a book of memoirs, (1968), p. 237; Cited in: Michael A. Morrison (1999) John Barrymore, Shakespearean Actor. p. 345

Statement at the Masiela Lusha board page http://www.masielalusha.com/board.php

Exclusive Interview with Peter Cullen http://collider.com/exclusive-interview-with-peter-cullen/ (June 9, 2007)

Source: Audition (1997), Chapter Two

1840s, Essays: First Series (1841), Compensation
Context: Men suffer all their life long, under the foolish superstition that they can be cheated. But it is as impossible for a man to be cheated by any one but himself, as for a thing to be and not to be at the same time. There is a third silent party to all our bargains. The nature and soul of things takes on itself the guaranty of the fulfilment of every contract, so that honest service cannot come to loss. If you serve an ungrateful master, serve him the more. Put God in your debt. Every stroke shall be repaid. The longer the payment is withholden, the better for you; for compound interest on compound interest is the rate and usage of this exchequer.
The history of persecution is a history of endeavours to cheat nature, to make water run up hill, to twist a rope of sand. It makes no difference whether the actors be many or one, a tyrant or a mob. A mob is a society of bodies voluntarily bereaving themselves of reason, and traversing its work. The mob is man voluntarily descending to the nature of the beast. Its fit hour of activity is night. Its actions are insane like its whole constitution. It persecutes a principle; it would whip a right; it would tar and feather justice, by inflicting fire and outrage upon the houses and persons of those who have these. It resembles the prank of boys, who run with fire-engines to put out the ruddy aurora streaming to the stars. The inviolate spirit turns their spite against the wrongdoers. The martyr cannot be dishonored. Every lash inflicted is a tongue of fame; every prison, a more illustrious abode; every burned book or house enlightens the world; every suppressed or expunged word reverberates through the earth from side to side. Hours of sanity and consideration are always arriving to communities, as to individuals, when the truth is seen, and the martyrs are justified.
Thus do all things preach the indifferency of circumstances. The man is all. Every thing has two sides, a good and an evil. Every advantage has its tax. I learn to be content. But the doctrine of compensation is not the doctrine of indifferency. The thoughtless say, on hearing these representations, — What boots it to do well? there is one event to good and evil; if I gain any good, I must pay for it; if I lose any good, I gain some other; all actions are indifferent.
There is a deeper fact in the soul than compensation, to wit, its own nature. The soul is not a compensation, but a life. The soul is. Under all this running sea of circumstance, whose waters ebb and flow with perfect balance, lies the aboriginal abyss of real Being. Essence, or God, is not a relation, or a part, but the whole. Being is the vast affirmative, excluding negation, self-balanced, and swallowing up all relations, parts, and times within itself. Nature, truth, virtue, are the influx from thence. Vice is the absence or departure of the same.

Video farewell (2002)
Context: I also want you to know I'm grateful beyond measure. My life has been blessed with good fortune. I'm grateful I was born in America, that cradle of freedom and opportunity where a kid from the Michigan North Woods can work hard and make something of his life. I'm grateful for the greatest words ever written, that let me share with you the infinite scope of the human experience.
As an actor, I'm thankful I have lived not one life, but many.

Source: Markets as politics: A political-cultural approach to market institutions, 1996, p. 658
Context: Conceptions of control refer to understandings that structure perceptions of how a market works and that allow actors to interpret their world and act to control situations. A conception of control is simultaneously a worldview that allows actors to interpret the actions of others and a reflection of how the market is structured. Conceptions of control reflect market-specific agreements between actors in firms on principles of internal organization (i. e., forms of hierarchy), tactics for competition or cooperation, and the hierarchy or status ordering of firms in a given market. The state must ratify, help to create, or at the very least, not oppose a conception of control.

The Art of the Theatre (1925), p. 171
Context: Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted.

Shakespeare over the Port (1960)

As quoted in "On Record : Zooey Deschanel of She & Him" at American Songwriter (18 March 2010).
Context: My goal as an actor is always to be as truthful as possible, and to find the truth in the material I am representing. So I think that it’s the same with performing music. But in a way, performing your own music, it’s easier to find the truth in it, because it’s coming from yourself. There’s no translation needed.

Career

As quoted in "The Big Interview : Matt Smith" at officiallondontheatre (14 May 2008 ) http://www.officiallondontheatre.co.uk/news/interviews/view/item100026/Matt-Smith/
Context: I quite like the transitions of being an actor, because you get to explore these little pockets of life. So if you’re playing a builder you get to know about building, if you’re playing a scientist or a physician or something you get to know about physics. And similarly with this world I like exploring their culture, that very sort of upper middle class, addictive… that’s part of the reason I love it.

Academy of Achievement interview (2006)
Context: You know, we still hear the word "puppet" and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.

The Glass Forest (1986)
Context: Plato would have no actors in his republic, in case pretence devoured what was real. Plato's fears have proved well-grounded. Actors, despised, almost outcast, until last century, have become something more than respectable. They, together with all those imitation actors, pop stars, TV celebrities, people who are famous for being famous, now receive adulation. They are the millionaires, the courtesans of our system. Solzhenitsyn, escaping to a West he had once admired, snarled at the meretricious falsity of what he found. We have built illusions round us and see no way out of the glass forest.

Preface
Personal Reminiscences of Henry Irving (1907)
Context: Logically speaking, even the life of an actor has no preface. He begins, and that is all. And such beginning is usually obscure; but faintly remembered at the best. Art is a completion; not merely a history of endeavour. It is only when completeness has been obtained that the beginnings of endeavour gain importance, and that the steps by which it has been won assume any shape of permanent interest. After all, the struggle for supremacy is so universal that the matters of hope and difficulty of one person are hardly of general interest. When the individual has won out from the huddle of strife, the means and steps of his succeeding become of interest, either historically or in the educational aspect — but not before. From every life there may be a lesson to some one; but in the teeming millions of humanity such lessons can but seldom have any general or exhaustive force. The mere din of strife is too incessant for any individual sound to carry far. Fame, who rides in higher atmosphere, can alone make her purpose heard. Well did the framers of picturesque idea understand their work when in her hand they put a symbolic trumpet.

[O] : Introduction, 0.7
Semiotics and the Philosophy of Language (1984)
Context: A philosophy does not play its role as an actor during a recital; it interacts with other philosophies and with other facts, and it cannot know the results of the interaction between itself and other world visions. World visions can conceive of everything, except alternative world visions, if not in order to criticize them and to show their inconsistency. Affected as they are by a constitutive solipsism, philosophies can say everything about the world they design and very little about the world they help to construct.

The Philosophical Emperor, a Political Experiment, or, The Progress of a False Position: (1841)
Context: War and fights, like courtship and kisses, are seldom interesting except to the actors and their connexions; hence I will not burden my readers with the military operations of these remote regions.

Regarding his oft-cited quote stating that actors are cattle; as paraphrased and quoted in "Town Called Hollywood: Director Pleads Off Poundage" http://www.mediafire.com/view/ix2ammmxkb3flqx/Screen%20Shot%202018-09-11%20at%2012.56.17%20AM.png by Philip K. Scheuer, in The Los Angeles Times (30 May 1943).
Context: [T]he director passed off the phrase as one of his "Machiavellian quips," not to be taken seriously. "Let us say, rather, that actors are a necessary evil," he cautioned, with a straight face. "As a matter of fact, I couldn't work if I weren't on friendly terms with them; I'll bend over backward every time. Besides, I get into each picture I make, if only for a couple of seconds—so I'm probably a frustrated actor at heart myself."

As quoted in Laurence Olivier (1979) by Foster Hirsch, p. 166
Context: If I wasn't an actor, I think I'd have gone mad. You have to have extra voltage, some extra temperament to reach certain heights. Art is a little bit larger than life — it's an exhalation of life and I think you probably need a little touch of madness.

Interview on National Public Radio (13 December 1974)
Context: I think politicians and movie actors and movie executives are similar in more ways than they’re different. There is an egocentric quality about both; there is a very sensitive awareness of the public attitude, because you live or die on public favor or disfavor. There is the desire for publicity and for acclaim, because, again, that’s part of your life... And in a strange and bizarre way, when movie actors come to Washington, they’re absolutely fascinated by the politicians. And when the politicians go to Hollywood, they’re absolutely fascinated by the movie stars. It’s a kind of reciprocity of affection by people who both recognize in a sense they’re in the same racket.

As quoted in "Ingmar Bergman: Summing Up A Life In Film" by Michiko Kakutani in The New York Times Magazine (26 June 1983).
Context: I was very cruel to actors and to other people. I think I was a very, very unpleasant young man. If I met the young Ingmar today, I think I would say, "You are very talented and I will see if I can help you, but I don't think I want anything else to do with you." I don't say I'm pleasant now, but I think I changed slowly in my 50's. At least I hope I've changed.

Regarding his oft-cited quote stating that actors are cattle; as paraphrased and quoted in "Town Called Hollywood: Director Pleads Off Poundage" http://www.mediafire.com/view/ix2ammmxkb3flqx/Screen%20Shot%202018-09-11%20at%2012.56.17%20AM.png by Philip K. Scheuer, in The Los Angeles Times (30 May 1943).
Context: [T]he director passed off the phrase as one of his "Machiavellian quips," not to be taken seriously. "Let us say, rather, that actors are a necessary evil," he cautioned, with a straight face. "As a matter of fact, I couldn't work if I weren't on friendly terms with them; I'll bend over backward every time. Besides, I get into each picture I make, if only for a couple of seconds—so I'm probably a frustrated actor at heart myself."

The Truth (1896)
Context: They are the enemies of pleasure. They denounce dancing as one of the deadly sins. They are shocked at the wickedness of the waltz—the pollution of the polka. They are the enemies of the theatre. They slander actors and actresses. They hate them because they are rivals.

Book III : Exile from Oblivion, Ch. 28
Wanderer (1963)
Context: The sun beats down and you pace, you pace and you pace. Your mind flies free and you see yourself as an actor, condemned to a treadmill wherein men and women conspire to breathe life into a screenplay that allegedly depicts life as it was in the old wild West. You see yourself coming awake any one of a thousand mornings between the spring of 1954, and that of 1958—alone in a double bed in a big white house deep in suburban Sherman Oaks, not far from Hollywood.
The windows are open wide, and beyond these is the backyard swimming pool inert and green, within a picket fence. You turn and gaze at a pair of desks not far from the double bed. This is your private office, the place that shelters your fondest hopes: these desks so neat, patiently waiting for the day that never comes, the day you'll sit down at last and begin to write.
Why did you never write? Why, instead, did you grovel along, through the endless months and years, as a motion‑picture actor? What held you to it, to something you so vehemently professed to despise? Could it be that you secretly liked it — that the big dough and the big house and the high life meant more than the aura you spun for those around you to see?
Hayden's wild," they said. "He's kind of nuts — but you've got to hand it to him. He doesn't give a damn about the loot or the stardom or things like that — something to do with his seafaring, or maybe what he went through in the war..."
Sure you liked it, part of it at least. The latitude this life gave you, the opportunity to pose perhaps; the chance to indulge in talk about “convictions — values — basic principles.” Maybe what kept you from writing was the fact that you knew it was tough. Maybe what held you to to acting was the fact that you couldn't lose — not really lose, because you could not be considered a failure if you had not set out to succeed... and you made it quite plain that you didn't give a damn.
And yet, you did hate it. Perhaps you were weak, that's all. You hated it because you knew you were capable of far more. You hated the role of an actor because, in the final analysis. an actor is only a pawn — brilliant sometimes, rare and talented, capable of bringing pleasure and even inspiration to others, but no less a pawn for that: a man who at best expresses the yearnings and actions of others. Could it be that you thought too much of yourself — that you could not accept sublimating yourself to a mold conceived by others, anyone else on earth?

The New York Times interview (2017)
Context: I was never that involved in the machine of press and publicity as an actor because I’ve always kind of worked on the margins of my profession … And then when my son was younger and it did get a little bit more intrusive, I tried to come to terms with how I was personally going to handle someone coming up to me on the street and wanting some part of my time. … Now what I do — because this is how I live — when someone approaches me and says, "Can I have your autograph," I say: "No, I’ve retired from that part of the business. I just act now." … I say: "What’s your name?" … I touch them. I look at them. I have a real exchange … I’m not an actor because I want my picture taken. I’m an actor because I want to be part of the human exchange.

Godspell Script Notes and Revisions (1999) http://www.webcitation.org/query?url=http://www.geocities.com/cugodspell/scriptnotes.html&date=2009-10-25+17:58:43
Context: Above all, the first act of Godspell must be about the formation of a community. Eight separate individuals, led and guided by Jesus (who is helped by his assistant, John the Baptist/Judas), gradually come to form a communal unit. This happens through the playing of games and the telling and absorption of lessons, and each of the eight individuals has his or her own moment of committing to Jesus and to the community. When Jesus applies clown make-up to their faces after "Save the People," he is having them take on an external physical manifestation that they are his disciples, temporarily separating them from the rest of society. But the internal journey of each character is separate and takes its individual course and period of time. Exactly when and why this moment of commitment occurs is one of the important choices each of the actors must make, in collaboration of course with the director. At the end of the first act, the audience is invited to join the community through the sharing of wine (or grape juice), mingling with the actors during intermission.

Context: It’s not a character like in a book or a movie. He’s not a bus driver. He doesn’t drive a forklift. He’s not a serial killer. It’s me who’s singing that, plain and simple. We shouldn’t confuse singers and performers with actors. Actors will say, “My character this, and my character that.” Like beating a dead horse. Who cares about the character? Just get up and act. You don’t have to explain it to me.

As quoted in the article "Joshing Around" in Movieline magazine (November 1999)
Context: I'm unfettered by the world, which is a very unique place to be at my age. I'll have to eventually choose what these next few years will be about, but I'm not in a rush. Besides, my personal life is much more important to me than my professional life and my self-worth isn't based on whether or not I act. I love acting, but I'm also looking into the great wide-open at this as-yet unpainted mural that will be my life. Whether or not it involves the movie business I'm not sure. I'm much more interested in becoming a good man than in becoming a good actor.

The Myth of Sisyphus (1942), An Absurd Reasoning
Context: What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity. <!-- 153

The Great Movies II (2005), p. 94
Context: It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness.
Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own.

On choosing an unlikeable role in a movie
New Zealand Herald interview (June 2018)

Opposition to the slave trade did come in time, in the principles of the American Revolution, but not before slavery had formed deep roots in the economy and polity of the United States. The foreign slave trade was outlawed by the United States in 1808, and it was made a capital crime in 1820, but the trade continued right up until the Civil War. It is good however to remind ourselves that no black slave was sold to a white slave trader, on the west coast of Africa, who had not already been enslaved by a black African. Slavery was an equal opportunity employer!
2000s, God Bless America (2008), Slavery and the Human Story

Preface
Personal Reminiscences of Henry Irving (1907)
Context: The fame of an actor is won in minutes and seconds, not in years. The latter are only helpful in the recurrence of opportunities; in the possibilities of repetition. It is not feasible, therefore, adequately to record the progress of his work. Indeed that work in its perfection cannot be recorded; words are, and can be, but faint suggestions of awakened emotion. The student of history can, after all, but accept in matters evanescent the judgment of contemporary experience. Of such, the weight of evidence can at best incline in one direction; and that tendency is not susceptible of further proof. So much, then, for the work of art that is not plastic and permanent. There remains therefore but the artist. Of him the other arts can make record in so far as external appearance goes. Nay, more, the genius of sculptor or painter can suggest — with an understanding as subtle as that of the sun-rays which on sensitive media can depict what cannot be seen by the eye — the existence of these inner forces and qualities whence accomplished works of any kind proceed. It is to such art that we look for the teaching of our eyes. Modern science can record something of the actualities of voice and tone. Writers of force and skill and judgment can convey abstract ideas of controlling forces and purposes; of thwarting passions; of embarrassing weaknesses; of all the bundle of inconsistencies which make up an item of concrete humanity. From all these may be derived some consistent idea of individuality. This individuality is at once the ideal and the objective of portraiture.

"How to Love God" (12 September 1954).
General sources
Context: When I say I am the Avatar, there are a few who feel happy, some who feel shocked, and many who hearing me claim this, would take me for a hypocrite, a fraud, a supreme egoist, or just mad. If I were to say every one of you is an Avatar, a few would be tickled, and many would consider it a blasphemy or a joke. The fact that God being One, Indivisible and equally in us all, we can be nought else but one, is too much for the duality-conscious mind to accept. Yet each of us is what the other is. I know I am the Avatar in every sense of the word, and that each one of you is an Avatar in one sense or the other.
It is an unalterable and universally recognized fact since time immemorial that God knows everything, God does everything, and that nothing happens but by the Will of God. Therefore it is God who makes me say I am the Avatar, and that each one of you is an Avatar. Again, it is He Who is tickled through some, and through others is shocked. It is God Who acts, and God Who reacts. It is He Who scoffs, and He Who responds. He is the Creator, the Producer, the Actor and the Audience in His own Divine Play.

Colonel Hector McCandless, and Private Richard Sharpe, p. 300
Sharpe (Novel Series), Sharpe's Tiger (1997)
Context: "That's what it's about, Sharpe, trade. That's why you're fighting here, trade." "It seems a funny thing to be fighting about, sir." "Does it? Not to me, Sharpe. Without trade there's no wealth, and without wealth there's no society worth having. Without trade, Private Sharpe, we'd be nothing but beasts in the mud. Trade is indeed worth fighting for, though the good Lord knows we don't appreciate trade much. We celebrate kings, we honor great men, we admire aristocrats, we applaud actors, we shower gold on portrait painters and we even, sometimes, reward soldiers, but we always despise merchants. But why? It is the merchant's wealth that drives the mills, Sharpe; it moves the looms, it it keeps the hammers falling, it fills the fleets, it makes the roads, it forges the iron, it grows the wheat, it bakes the bread, and it builds the churches and the cottages and the palaces. Without God and trade we would be nothing."

In response to the question, "What would you recommend to young actors?", from the interview "Giovanni Morassutti: La mia "voce" grazie a Giancarlo Giannini!", SestoDailyNews.net (October 3, 2014) http://www.sestodailynews.net/rubriche/stelle-di-giorno--di-concita-occhipinti/1981/giovanni-morassutti-la-mia-voce-grazie-a-giancarlo-giannini; also quoted in MUBI.com https://mubi.com/cast/giovanni-morassutti.

On his leaving the theater world (as quoted in the book Notable Asian Americans http://smithsonianapa.org/wp-content/uploads/sites/8/2009/10/chin-frank.pdf)

On what she has learned working as an acting coach in “Belita -- Not ‘Benny’ – Moreno” http://latinola.com/story.php?story=8908 in ¡LatinoLA! (2010 Sep 12)

On the challenges of the writing process in “BWW Interview: Acclaimed Playwright Luis Alfaro of OEDIPUS EL REY at Magic Theatre Talks about His Path & the Role of the Artist in Creating Change” https://www.broadwayworld.com/san-francisco/article/BWW-Interview-Acclaimed-Playwright-Luis-Alfaro-of-OEDIPUS-EL-REY-at-Magic-Theatre-Talks-about-His-Path-the-Role-of-the-Artist-in-Creating-Change-20190614 in Broadway World (2010 Jun 14)

On his character Richie in the show Looking in “Interview: Raúl Castillo on We the Animals, Latino Roles, & More” https://www.slantmagazine.com/film/interview-raul-castillo-on-we-the-animals-and-latino-representation/ in Slant Magazine (2018 Aug 13)

Urban Naxals (2018)

“Speech to the Reichstag Assuming New Powers” https://www.jewishvirtuallibrary.org/adolf-hitler-speech-to-the-reichstag-assuming-new-power-april-1942, (April 26, 1942)
1940s

On the fickle nature of theater in “Moment to Moment: with Maria Irene Fornes” https://brooklynrail.org/2002/10/theater/moment-to-moment-with-maria-irene-fornes in The Brooklyn Rail (Autumn 2002)

Burt Ward, Hollywood Reacts to Adam West's Death http://www.hollywoodreporter.com/heat-vision/hollywood-reacts-adam-wests-death-a-sweet-nutty-guy-1012217 (June 10, 2017)

Source: The Laundry Files, The Fuller Memorandum (2010), Chapter 8, “Club Zero” (p. 128)

In Living Color

On how writing for television influenced her novel The Go-Between in “Author Interview: Veronica Chambers questions Mexican immigrant stereotypes in ‘The Go-Between’” https://www.hypable.com/author-interview-veronica-chambers-the-go-between/ in Hypable (2017 May 9)

Foreword https://www.academia.edu/39237479/Prefazione_di_Per_scelta_per_caso._Oltre_l_Actors_studio_by_John_Strasberg to Per scelta, per caso. Oltre l'Actors Studio by John Strasberg, published by Dino Audino editore (2016) https://www.audinoeditore.it/libro/9788875273347.

Letter to Lord Charlemont (9 August 1789), quoted in Alfred Cobban and Robert A. Smith (eds.), The Correspondence of Edmund Burke, Volume VI: July 1789–December 1791 (Cambridge University Press, 1967), p. 10
1780s

Interview by Andrea Di Marcantonio

Often abbreviated to: Nothing great in the World has been accomplished without passion.
Variant translation: We may affirm absolutely that nothing great in the world has ever been accomplished without enthusiasm.
Lectures on the Philosophy of History (1832), Volume 1

Kevin
Johnson
USA Today
2003-01-01
http://usatoday30.usatoday.com/tech/news/2003-01-02-email-book_x.htm
He spread the words, one e-mail at a time

Burton's reply was, "Both."
Olivier, on the set of Cleopatra, in "Burton, Richard"

Biography, in "Life: Richard Burton"

Comment by Muzaffar Ali said.
At 55, Rekha still an engima, an icon

This family of theories -- inspired to a great extent by Buckley -- is largely non-functionalist. It includes Buckley’s (1967, 1998) “modern systems theory,” Archer’s (1995) “morphogenetic” theory, Burns’ “actor-system-dynamics” (also ASD; Burns et al. 1985; Burns and Flam 1987), and the “sociocybernetics” of Geyer and van der Zouwen (1978). Complex, dynamic social systems are analysed in terms of stabilizing and destabilizing mechanisms, with human agents playing strategic roles in these processes. Institutions and cultural formations of society are carried by, transmitted, and reformed through individual and collective actions and interactions.
Source: Systems theories (2006), p. 3.

After working with Satyajit Ray, working in Bombay was confusing: Sharmila Tagore

K. Balachander, in comparing the Rajinikanth phenomenon with the Jackie Chan phenomenon, both driven by self-confidence, individualism and the enormous will to succeed.
Decoding Rajinikanth

K. Balachander, in p. 14
Rajinikanth: A Birthday Special (12 December 2012)

Ramesh Sippy, in “Comeback king (31May 1989)”

Pratap Pothen, in “Comeback king (31May 1989)”

Ramesh Menon, in “Comeback king (31May 1989)”

Maiam Magazine, in Kamal Hassan Biography http://www.imdb.com/name/nm0352032/bio

Shyam Benegal, after Kamala hasan was selected for the honour of the Lifetime Achievement Award at the 15th Mumbai Film Festival for 50 years in the Indian film industry, in Kamal Haasan to be Bestowed with Lifetime Achievement Award (15 September 2013) http://www.ibtimes.co.in/articles/506113/20130915/kamal-haasan-lifetime-achievement-award-film-festival.htm

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991)

Po-Chih Leong, director of The Wisdom of Crocodiles, reported in John McVicar, "Jude Law", Artnik, London 2006, p. 4.

George Bernard Shaw Selected Prose (1952) p. 521.

"Tracking Tracey" http://www.dareland.com/emulsionalproblems/ullman.htm (Interview, January 1989)

Alan Horn, president of Warner Bros., and Jeff Robinov, Warner Bros. studio president. [In Quotes: Heath Ledger Tributes", http://news.bbc.co.uk/2/hi/entertainment/7204267.stm, BBC News, Entertainment, bbc.co.uk (BBC), January 23, 2008, 2008-08-23]

I'm gonna say "greatest actor"; Greatest...living...American...actor...in...the Baldwin family...by a mile.
"Ask Tina" segment from NBC's 30 Rock website

Chap. 14 : Resist the Downward Pull of the Group
The Laws of Human Nature (2018)

Chap. 4 : Choosing Sides
Adapted from Robert Axelrod and D. Scott Bennett “A Landscape Theory of Aggregation,” British Journal of Political Science 23 (Apr. 1993): 211–33.
The Complexity of Cooperation (1997)

Source: The Selfish Gene (1976, 1989), Ch. 9. Battle of the Sexes

Marie Claire, "Exclusive Sneak Peek: Marie Claire March Cover Star Margot Robbie" https://www.marieclaire.com/celebrity/news/a13235/exclusive-sneak-peek-margot-robbie/, February 6, 2015.

.

Kant, Immanuel (1996), page 37
Anthropology from a Pragmatic Point of View (1798)

as an answer to the question: Whats the most useful advise you ever got from a fellow director?

From Mira Nair.

On the Sets, at 25 Min 06 Sec https://www.youtube.com/watch?v=3deXjh9X0_U
Panel interview at MAMI(Mumbai Academy of Moving Image) Film Festival