I put on an act sometimes, and people think I'm insensitive. Really, it's like a kind of armor because I'm too sensitive. If there are two hundred people in a room and one of them doesn't like me, I've got to get out.
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"I don't like to be told what to do."
"I don't like to be famous. I think it's a burden."
"I'm not a method actor. I'm just an actor."
"I don't like to be bothered. I like to be left alone."
"Food has always been my friend. When I wanted to feel better or had a crisis in my life, I opened the icebox."
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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