Actor Feedback Quotes

It's important for an actor to feel like they're really being watched and to receive feedback and encouragement about the aspects of what they're doing that feels truthful - and also to raise awareness when they might be resorting to habits and tricks, which every actor has.

I don't really have any opinion about my performance in 'Big Momma's House.'

I personally didn't like the idea of Bond in space. Having to fly around on a wire was not particularly comfortable, and I didn't like the outfit. It had a terrible helmet.

I'm the girl that waits for the director to say, 'I like that,' or 'Can you boost it up?,' or 'Can you pull it down?' I'm that kind of actor. I started in theater, so that's the feedback that I'm accustomed to. It's the feedback that I really thrive off of.

When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!

I know what a good question would be for an actor. What's your least favorite thing that you've ever heard an actor say about acting? Or about being in a movie?

My natural bent is to have an overabundance of energy, and motion-capture essentializes your every breath, your every move. Seeing yourself through that mask, you realize how far you can pull back and make the performance even more powerful.

Every actor's different. It seems to me the older veterans, they don't need to hear as much. But younger actors need a little more feedback, a little more assurance, and that's fine.

A lot of people are really excited to see the continuation of Cory and Topanga and 'Boy Meets World'. I was getting a lot of positive feedback, which I was really happy about.

Aamir Khan told me that I was doing Sameer's character all wrong in Dil Chahta Hai

I come from a tradition where the writer writes a play for the actors, rather than for himself, and the dialogue is made to work onstage, so it needs actors to help shape it. So you never get a play right straightaway.

I like to have the actors do their thing. And then brief them what to do differently in take two.

We write and write and write until we think, 'If we have to shoot this script, we'll be happy, and it's going to be a great movie.' I meet with all the actors two weeks before, and I ask them, 'What lines don't work? What is uncomfortable for you? What jokes do you think aren't good? If you're not getting it, here's what the joke is.' You fix it.

With some actors, if I have upward of 10 notes, I don't want to give them all 10 notes and overwhelm them. I usually parse them out three or four at a time.