Script Memorization Quotes

I did my share of kid acting, like lots of us do. I even played King Herod when I was 6, but when I got to the end of my school period, that was it.

People who haven't done commercials, don't appreciate how hard it is.

Many take the roles home with them and live the part. I'm quite happy to leave mine at the studio and return home as I left: simple old Roger Moore.

As a matter of principle, I always come to a film like a blank slate, I don't learn my lines in advance. With this approach, I feel clean.

I am a quick study - I can memorize a script in an hour - but I can't remember a name three seconds. I've even forgotten my wife's name on occasion.

I'm terrified of learning lines, and I've always been terrified that I won't learn them.

I was working with Bryan Cranston in 'All the Way.' We were about to make an entrance together - I was Hoover, he was LBJ - and he says to me, 'You should play the brother in 'Better Call Saul.' I was like 'What?' and it was time to go on. I'm doing the scene, and I can't think of what Hoover's supposed to say.

I envision the script as a story in my mind, memorize the entire thing and have it play out. It helps me figure out where my character needs to go.

Memorizing lines isn't really hard. Only with really hard words and stuff.

People have different expectations when you're younger - it's less about changing yourself into a character; they want a more natural thing. And they just want you to be able to turn up every day and carry on working. They have a horrible fear of 10- or 11-year-olds, that they're going to say 'I don't want to play today.'

On my last two days of 'Young and the Restless,' I had 120-something pages of dialogue. My last two days.

I never wanted to become an actress. I come from an air force background.

I'm just always learning lines. I've learned to flag the really crucial scenes, and I start figuring them out and committing them to memory as soon as I get them.

When I did plays in high school and college, I never remember memorizing my lines, but once I had blocking, I had all my lines memorized. Once I had movement associated with words, it was fine. Before I had blocking, it was just text on a page. Once it became embodied, it was much easier.

Unlike movies, on stage there are no second chances. Everything is live. If someone messes up, forgets a line, gives the wrong cue, you need to have the presence of mind to move the play along.

I never went to school for acting; it just comes to me. I never practice. I read the script, I'll memorize it. I don't even practice the acting. I'll just do it the day, and it will just come to me.

I have such respect for guest actors. They don't know all the characters as deeply as the regulars, and the cast isn't your family, so you have more at stake.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

When I am making a film, I know what to do in front of a camera. What frightens me are the scenes with dialogue. Sometime they really want me to speak perfectly and I don't like that.

Any actor would love to just pick up a script and be like, 'I can connect to this person, and I can see myself playing him.'

I can't do a one-camera show. I don't know how to do that kind of show where you count in your head and then you do the next line.

I played a doctor on 'Counterpart', so that was about studying and watching documentaries and reading and trying to learn.

In the summer after sixth grade, I took a class at St. Robert Bellarmine. My first role, I was the villain in a play, and I forgot all my lines. I think I cried my way through the performance.

I was never a child actor. I was a child performer.

I was an understudy in a show called 'One Over The Eight' with Kenneth Williams and Sheila Hancock.