Halle Berry Quotes

I'm inspired to work with good actors, period. I want to work with the best anytime because I think they'll make me better.

I love working with ensemble groups of actors.

There are actors who have never gotten an Oscar and have done amazing work.

I want actors. I want to be with other people. I don't wanna be alone, because of the connection when you're in a room, in a scene with someone, and it comes to life. You feel like the moment is something magic.

If I'm directing actors, I learn about acting that way. If I'm acting, I learn about directing that way. Producing is just something that's come about because there's projects I find interesting that I would like to help get done.

It's always nice when you get a chance to actually work with the other actor. It just brings the scene to life, in a way that's not as easy to replicate on your own.

I had improvised a lot in classes and at the Actors Studio, but I never did it in front of the camera.

Working with [Robert] De Niro taught me a lot about being an actor's director.

That's why there's so much bad acting out there, because you could see actors watching themselves.

I love working with actors. I do.

I'm a theater actress and I thrive on working with other actors, and you can't be even a smidge bad, when you're acting with Charlie [Sheen]. He's just so natural, so present and so good that you have to step up to his level, or else.

It's the rare happening when actors get together and you have chemistry, connection, just something that works, that's bigger than what's on the page.

There's no director or actor that I want to work with more than anyone else, other then maybe Johnny Depp, who I really would love to work with. I don't view any directors or actors above regular people, so I'm just happy to work with anyone, as long as they have talent.

Directing requires great discipline, that ability to be in and out at the same time. The great ones I've worked with are like generals. It's a bit like a small war on that level. The great ones have that combination of freedom and control. I'm nowhere near that. There's still so much to do as an actor. I have enough to explore with that.

We stayed very close to each other [with Leek Kirk], and Lee was amazing. We'd go through the script together, rehearsing it before every shot with the other actors. He was just easy to work with. We were able to put it in my language, which was really important.

The joy is when you work with great actors, it just comes to life in a way that you never even imagined.

And, Bruce and I are pretty close as well. We're both from Texas and we both understand each other. When I'm having trouble with a scene, I'll just go over to him and be like, "I have no idea what's happening here. What are we doing?" He's just been such a wonderful sounding board and, obviously, he's a tremendously talented actor.

I had the kid [on "Fences" ] who understudied me so I could stand back and think about shots so he had to learn the blocking and everything. I'd come in early sometimes, and they 'd be in there rehearsing and working on their stuff. I didn't want them to feel like, "Oh these are people who can't be touched." We're all working actors; we're all trying to get better.

You look at people like Gena Rowlands, but she had [John] Cassavetes to write these amazing roles for her.

We're very good friends, we have a very honest relationship. He keeps me honest, I keep him honest. He's an incredible actor and when you have an actor like Denzel action becomes drama.

Hollywood -- that's where they give Academy Awards to Charlton Heston for acting.

Any actor will tell you, as soon as your ego and your vanity come into the mix, it destroys your work. Completely destroys it.

Working with them was a great experience. Victor Garber, Stephen McHattie and Ray Liotta - they were all bang-up.

In film, other actors' performances really are not your concern. If the other actor isn't giving you what you want, act as though he were.

When I started out as an actor, I thought, Here's what I have to say; how shall I say it? I began to understand that what I do in the scene is not as important as what happens between me and the other person. And listening is what lets it happen. It's almost always the other person who causes you to say what you say next. You don't have to figure out how you'll say it. You have to listen so simply, so innocently, that the other person brings about a change in you that makes you say it and informs the way you say it.