Scottie Thompson Quotes

There was only one elective at my college for acting, but thank God for that elective because we had a great teacher who introduced me to the Meisner technique for acting. Once I read that book, I said, 'Wow, if I could do that and have that honest moment on stage, that would be amazing.'

I took one class at Second City called Improv for Actors, and that was it, and that was only because my agent told me I had to.

I recommend doing some sort of acting class, something that can eventually get you in front of an agent or a manager, and practice is very important.

There are so many actors that I meet that don't act enough. Definitely take class, definitely train - that's the most important thing you do. Build your craft. Become better.

The best way to study to be an actor is to interact genuinely with the people around you and observe and listen.

If you want to be an actor, you need to learn how to act first, even in sketch comedy.

I didn't go to film school, I went to acting school.

I had gone to acting school for years. It was the kind of thing I had studied to do. I had worked with good coaches and trained to do this my whole life: to be a realistic actress capable of doing truthful work.

I would recommend any young person who wants to be an actor to go and get some training.

That's basically how I learned everything as an actor. I was just a kid, and I worked with these actors, and I'd ask them questions, and then something would work for me, and I'd try to move forward with it.

I can honestly say whatever I know about acting, all of it, I learned at 'GH.'

I find acting conservatories really important. I've gone to four different ones, and all of them provided totally different tools for me.

I pick up a lot of stuff from them, but I don't think there's any great trick to acting.

'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.

I had three influential teachers. The first was Uta Hagen. The second two, Bobby Lewis and my late husband, Charles Kakatsakis, were both from the Actors Studio.

I studied technique for ten years, from age 7 to 17. I guess you could say I went more on the Stanislavski side than the Meisner side - there's always that wide divide among actors when it comes to technique.

You can be in an acting class all you want, but you don't fully learn until you get off that stage and in front of a camera.

I'm formally trained, I don't know what classically trained really means. I've worked with Sanford Meisner. And I've worked at Circle Rep with Marshall W. Mason and Lanford Wilson and some really good people. I was lucky. I had a lot of really good influences.

I trained in Toronto with a private acting teacher, who was wonderful, for years growing up.

I don't think actors get good training today. I put my training to use in everything I do.

I take class at the Groundlings, and my personal coach is Lesley Kahn.

I have been taking classes and I'm familiar with stage, but I'm not as familiar with acting on camera.

I thought acting was all about natural instinct but I've realised, through working with so many talented actors on 'Wild Swans' and 'Run,' that I can see the training. That's why I am back at drama school.

I've had probably way too many acting classes, and you try to sort of shed - I think over a period of time, you'll shed what doesn't stick with you, and you'll hang onto those things that do.

Acting classes, I guess, are good and I would like to maybe sometime take one. But I would feel like I was learning someone else's technique. I like mine.