Josh Dallas Quotes

Having a guy on a microphone yelling lines at you is counter to a lot of acting techniques.

There's so much to learn about acting and performance in general... I mean, acting is a very complex art, and there are a lot more theories and methods and techniques to it than I think anybody would think.

You know, I don't support esoteric approaches to acting.

I think I'm more the method acting school.

There is an art to acting, and there are techniques that are acquired. You can be as emotional as you'd like, as a person, but figuring out ways that you can bring specific emotions at specific times and have them be true, and relating to someone as someone that they're not, is a lot.

The worst acting is about imitation.

I am not a method actor, though I studied for a year with Lee Strasburg.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

Actors aren't all the same. They have very different skills. There are actors of intellect who are very thoughtful about everything they do... and then there are actors of instinct who don't know what they're doing until the cameras roll... My father was actually quite thoughtful about what he did, while my mother was much more instinctual.

I think in the past, around the time that method acting became so prevalent, it used to be that American actors were thought to be the kind that would work more from the inside out, and that the English actors worked more from the outside in.

I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.

I was a student of Sanford Meisner for three years at the Neighborhood Playhouse, and I studied with Lee Strasburg for five years and became a member of the Actors Studio. What I studied came right from the horse's mouth. My students have a lot to learn from me, and I am so eager to share it.

In film, you're always using your tools, your body, your voice, your emotions, but onstage, you use them in a different way.

I was a student of Stella Adler and then later Lee Strasberg, and they were into sensory work. At its best, acting is not about words - even when the words are important.

There's no such thing as The Method. The term 'method-acting' is so much nonsense. There are many methods, many techniques.

Everyone seems to think they know what acting techniques are. Techniques just help you get to a certain place, but if the thing is happening just by itself, you don't need those techniques.

I'm not really into method acting - the way I was taught was the good old-fashioned British way of just doing your research and getting on with it.

Acting is the only medium were people think they can just stand up and do it because they can say lines, but that is not so much the case. You have to study styles and techniques.

I didn't learn anything about acting until I joined the Group Theatre. They taught me an entirely new approach, an entirely new technique.

I feel like everything you learn as an actor growing up is wrong. You're supposed to hit your mark, find your light and know your lines. Those are all things that just make things wooden, dull and boring.

A lot of acting techniques are very self-oriented.

For my money, when you're doing an on-camera performance, unless it's for something particularly stylised, you are, by and large, striving for naturalism.

I took Meisner for a long time. I use a lot of sense memory and, well, I wouldn't say Method, but I can't really avoid getting into character.

I trained as an actor with Lee Strasberg, Elia Kazan, and Harold Clurman, and those guys set a very high bar.

My acting technique is a combination of a lot of different ones. A lot of it is Meisner.