Luke Evans Quotes

When you shoot a film, you have very little time to waste, and I try to go into the character as soon as possible and stay there as much as I can.

For me and for I'm sure any actor, each role is a different challenge to prepare for in a different way.

He's very alive in a scene. He's a very good actor to act with. Even though through most of the picture he's blind, there are many places early in the picture I got to be with him before he was blind. Like convincing him in the office to do the picture.

I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.

It's fun to play the character and then watch him later.

When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.

In 2005, I had the great honor of playing Shailene Woodley's mother in 'Felicity: An American Girl Adventure.' I was immediately impressed by her work ethic, both on and off set.

I've done films where we don't rehearse, and I've done films where we heavily rehearse. I like rehearsals.

As actors, we're always asked to portray and react to these extreme circumstances, otherwise it's not interesting. They are agonizing things to think about.

Layers are not difficult for me. You have the luxury of takes, so if you feel like, say, you did not take in the fact that your aunt is across the way in one take, you do it again and try to add that piece.

If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.

When there's no technical problems, if you did the right casting, and the scene is well written, the actor will give you a strong performance with his intuition right from the start.

In films you do a scene, you play around with it and unless you're doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.

'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.

I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers.

Once you've agreed the script, you must be willing to go as far as it needs to go on set.

When you're doing a play that's fully produced, you have the benefit of rehearsing for four or five weeks, so you really get to live in the skin of the character for much longer than when you first start doing a character on TV.

Any actor working a long time should know how a shot is set up, where to place themselves, how to handle the lines. I'm a member of the crew, like the best boy, the electrician. What I'm good at is making eyes at the camera.

I did a movie called 'The Hole' with this kid Nathan Gamble, so when I'm old and wrinkly, he could play me. He's awesome.

You need supporting actors to help to tell the story. For me, I'm lucky to be a part of the films. Being an actor, I'll take any role, whether it's supporting or leading.

If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.

As an actor, you can steer a scene in another direction by playing it a little differently. And honestly? I like being an actor, and I want to keep having a career.

I went along to the audition and I had one page of lines, and I didn't think it went particularly well.

Once you walk off the set, if you're an actor, the rest isn't your responsibility, which I like a lot. I'm not responsible for the final product, which is why it's always a pleasure when you see it's in the hands of the people afterwards putting it together.

The first feature film I did, when I did 'Night Shift,' I improvised quite a bit because I would improvise at the audition, so sometimes I would return to the original lines, and then when I was on set, I would improvise even more.