American - Actor | October 4, 1967 -
I went to school in Massachusetts at Hampshire College.
Liev Schreiber
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I think conflicted characters are always more interesting.
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I'm someone who started in the theater and really couldn't stand repeating the show. My favorite part of acting is the five or six weeks of rehearsal that you get. I like doing previews; I like the opening week because my friends and family come, and then after that, I don't want to do it anymore.
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I've never been a heavy practitioner of the method or, at least, with any specific intent; I'm kind of an impulse-based person. Like, I'm sort of waiting for something to happen that I'm not expecting, and I kind of want to jump on that train of emotion, whatever it is, both from myself or from the other actor.
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I struggle with the idea of comparing people's work and art. The notion of giving awards or putting a competitive spin on something that is a relative art form is sort of odd to me.
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No offense to the Canadians, but I believe location is like a character, and authenticity really matters. When you're in a place like New York or D.C., you just can't beat it, and it's so hard to recreate because they are both such distinctive places. I think it's pretty easy these days to tell films that are shot in Toronto.
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I'm terrible with big parties.
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I was always curious about motivation and intention, and really, that's a lot of what acting is. I was a little bit different.
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I did some research into what was going on in terms of the sexual revolution that was happening in the '60s in the gay community and particularly in the drag world. Before the '60s, guys doing drag would dress like their mothers or iconic Hollywood actresses.
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The guy who kind of broke the story in 'Spotlight' was a priest, the guy who had sort of done all the research. One of the things he said when one of the 'Spotlight' reporters asked him how he could still remain a Catholic, he said that, 'My faith is in the eternal, and the church is an organization.'
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We have to remember to respect the faith of people and maybe not the organizations or the groups that manifest around it.
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The premise for me has always been that it's vulnerable people who do violent things. And the more vulnerable they feel, often, the more violent they are. But I think, you know, that's an idea that comes from history, from classical theater, for me.
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