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 by not saying something that they think, or saying something that they don't think, or showing something that they don't feel.
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"If there’s anything unsettling to the stomach, it’s watching actors on television talk about their personal lives."
"I'm not a very social person. I don't like crowds."
"I think that acting is a form of neurosis."
"All I want to be is normally insane."
"I don't like to be told what to do."
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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