Marlon Brando — "I don't want to be a star. I want to be an actor."
I don't want to be a star. I want to be an actor.
I don't want to be a star. I want to be an actor.
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"I'm tired of the whole thing. I'm tired of Hollywood. I'm tired of the movies. I'm tired of my life."
"I'm going to be a plumber. I don't want to be an actor. I don't want to be a movie star. I don't want to be anything. I just want to be myself."
"I don't think acting is that important. It's just a way of making a living."
"I don't like to be touched. I don't like to be hugged. I don't like to be kissed."
"I'm not a very nice person. I'm not a very good person."
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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