Zitat des Tages von John Hurt:
My criteria when looking for a role is that I will do anything that stands the chance of succeeding on the level it is intended to. After that, if it's a part I can do something personal with.
It would be difficult to have any unfulfilled ambitions because I don't have any ambitions. I've never been that kind of performer.
Acting is an imaginative exercise. It would be odd if you didn't try to identify with the roles you play, but I think I can differentiate between where my imagination is leading me and where I actually am.
My mother's father drank and her mother was an unhappy, neurotic woman, and I think she has lived all her life afraid of anyone who drinks for fear something like that might happen to her.
Where humanity is going to find itself in, say, 20, 30, 40, or 50 years would be very difficult to predict, I think. There are moments, of course, when you think that it's going from bad to worse, but there are other moments when you think that human efforts are really flowering into something really fantastic.
You can't lose your concentration at all. And there are times when you're on the stage, and you've got silence, which is wonderful, but you have to have the confidence to make you realize it's fine. You can't suddenly wobble and think, 'They're not interested.'
Actors are not always the best judges. We have a peculiar idea of what we think we are, and sometimes it's best left to others to decide what we play.
It's an immensely competitive business, and I can tell you the older you get, the parts are fewer, and the people who are proven performers are greater.
It's quite a dangerous career move to go wilfully on making films that may not find a distributor.
My parents felt that acting was far too insecure. Don't ask me what made them think that painting would be more secure.
Film is not literature - the image on screen is the information you get.
I was completely crazy and mad when I was young. I was absolutely in love with the dissolute.
Pretending to be other people is my game and that to me is the essence of the whole business of acting.
I never quite understand why we watch the news. There doesn't really seem much point watching somebody tell you what the news is when you could quite easily listen to it on the radio.
I'd love to be one of those people who, whenever you see them, you feel pleased.
Life is full of ironies and paradoxes.
Don't forget there are two sides to performing. Finding the truth, but you also have to be transparent enough for the audience to see it. How many times have you seen a performance and thought: 'Well, it seems to be meaning a great deal to you but it ain't coming across to me?' It is to be shared.
I put everything I can into the mulberry of my mind and hope that it is going to ferment and make a decent wine. How that process happens, I'm sorry to tell you I can't describe.
I am not an enormous believer in research being the be-all and end-all. I get suspicious when I read about actors spending six months in a clinic, say, in order to play someone who is sick.
I've never changed the way I live. I still walk the streets; I don't give a damn. And everyone's very nice to me. But this new idea of being famous for no reason at all? I can't actually get my head round it.
I love the uilleann pipes and listen to Ronan Browne who's an uilleann piper.
I knew I wanted to act from a very young age - from about nine, really - but I didn't know how to go about it. I had no idea. The world was a much bigger place then.
I have done quite a lot of outsider figures.
I'm fascinated by the business of belief, obviously, because it's so ever present with humanity anyway. And, you know, when you have science, which constantly talks of proofs, you have religion, which constantly talks of beliefs and faith and so on.
I gave up religious thinking a long time ago and am really just an agnostic now.
How my film career happened, I don't know. It was unplanned. I'd been in films and TV throughout the Sixties and early Seventies, but it was really 'The Naked Civil Servant' in 1975 that put me on the radar.
I don't think you automatically become an enlightened person because you are a daddy. But they will change you, of course - their understanding of you puts you in a different place.
Also the wonderful thing about film, you can see light at the end of the tunnel. You did realise that it is going to come to an end at some stage.
I have died in so many spectacular ways, and I remember shooting them all, too. I imagine all those deaths will flash in front of me when I'm on my death bed, faced with the real thing.
I'd love to claim that what I have done in my life is of my doing, but it's not of my doing at all. I've blown around in the wind like a mad thing, influenced by this and that - like a piece of paper: like the boy in that scene in 'American Beauty' watching a piece of paper blowing hither and thither.
I didn't want to teach. I wanted to act. It was quite a long and difficult road to get there but very thrilling when I did.
I'm essentially the result of other people's imagination. And that's fine. Because of other people's imagination, I've played parts I would never have thought I could do. Still, I've never had a hankering or an ambition for any particular role.
There's an awful lot of hanging around when you're doing science fiction. Going down and waiting for them to set up, being told to go back to your dressing room while they change the track and the lighting and so on.
I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.
I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.
If you do an interview in 1960, something it's bound to change by the year 2000. And if it doesn't, then there's something drastically wrong.