I watched a snail crawl along the edge of a straight razor. That's my dream. That's my nightmare. Crawling, slithering, along the edge of a straight razor and surviving.
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"I always felt that the only way to make a movie truly great was to make it a little bit strange."
"I've always been a little bit of a rebel."
"The more sensitive you are, the more you are subject to suffering."
"You don't just give up. You don't just let things happen. You fight for what you believe in and you fight for your friends."
"The only reason I'm in Hollywood is that I don't have the moral courage to refuse the money."
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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