I keep my family out of my public life because it can be an awful nuisance to them. What's my mother going to tell strangers anyway? That I was a cute baby and that she's terribly proud of me? Nuts. Who cares?
Montgomery CliftRead
Failure and its accompanying misery is for the artist his most vital source of creative energy.
Interpretation
Artists draw inspiration from their failures and the emotions that come with them.
This quote by Montgomery Clift emphasizes the idea that the struggles and failures an artist faces can serve as powerful fuel for their creativity. Rather than viewing failure solely as a negative experience, Clift suggests that the emotional weight of such experiences can lead to profound artistic expression and innovation, highlighting the transformative power of adversity in the creative process.
In practice
This quote could be shared during an art workshop to encourage participants to embrace their creative failures.
I keep my family out of my public life because it can be an awful nuisance to them. What's my mother going to tell strangers anyway? That I was a cute baby and that she's terribly proud of me? Nuts. Who cares?
I don't want to be labeled as either a pansy or a heterosexual. Labeling is so self-limiting. We are what we do - not what we say we are.
Nobody ever lies about being lonely.
The only line that's wrong in Shakespeare is 'holding a mirror up to nature.' You hold a magnifying glass up to nature. As an actor you just enlarge it enough so that your audience can identify with the situation. If it were a mirror, we would have no art.
I'm a Method actor. I spent years training for the drinking and carousing I had to do in this film.
I'm in the acting business. That's the ego business.
I think something that every actor wants, whether they've done four movies or forty movies, is they want to find the work interesting. You want to come to work and think this is going to be a challenge.
Fiction is a branch of neurology: the scenarios of nerve and blood vessels are the written mythologies of memory and desire.
By the end, you should be inside your character, actually operating from within somebody else, and knowing him pretty well, as that person knows himself or herself. You're sort of a predator, an invader of people.
And that's what people want to see when they go to the theater. I believe at the end of the day, they want to see themselves - parts of their lives they can recognize. And I feel if I can achieve that, it's pretty spectacular.
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