Marlon Brando — "We don't go anywhere. Going somewhere is for squares. We just go!"
We don't go anywhere. Going somewhere is for squares. We just go!
We don't go anywhere. Going somewhere is for squares. We just go!
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"I don't like to talk about my personal life."
"I'm not a very happy person. I'm not a very good person. I'm not a very nice person."
"Food has always been my friend. When I wanted to feel better or had a crisis in my life, I opened the icebox."
"I don't think I was constructed to be monogamous. I don't think it's the nature of any man to be monogamous."
"We couldn't survive a second if we weren't able to act. Acting is a survival mechanism, and it's a social lubricant. And we act to save our lives, actually, every day. People lie constantly every day …"
American actor whose A Streetcar Named Desire (1947) and On the Waterfront (1954) defined Method acting and reshaped 20th-century film performance. Closely associated with James Dean (Method-acting peer and protégé) and Montgomery Clift (Method contemporary and friend). For an intellectual contrast, see Laurence Olivier, British classical-trained actor — Olivier's technical, externally-constructed approach to acting is the precise opposite of the Method's emotional-recall internalism — the canonical 'Method vs classical' binary 20th-century acting pedagogy is organized around. Olivier reportedly told a frustrated Hoffman: 'Try acting, my dear boy'.
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