100+ Laurence Olivier Quotes That Will Make You Get Out OF Your Comfort Zone

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Laurence Olivier quotes

Laurence Olivier quotes that will make you get out of your comfort zone. There are so many Laurence Olivier quotes that can help you when you are tired of being in the same old rut, and all you need is a little push, a little inspiration, a smile on the face, change of mood, bring you out of the banality of life, make you laugh a little, or may even make you cry a bit, and these Laurence Olivier quotes exists just do that.

Laurence Olivier had been a very famous English actor and also a director who, with Peggy Ashcroft, John Gielgud, and Ralph Richardson, had dominated the British stage during the mid-20th century. Laurence Olivier had worked in movies all throughout his career and has played over fifty cinema roles. Laurence Olivier had been considered as very success in TV roles.

Laurence Olivier’s family had no theatrical connections, but his father, who was a clergyman, had decided that Laurence Olivier should become an actor. After Laurence Olivier had attended a drama school in London, he had learned his craft in many acting jobs. In the year, 1930 Laurence Olivier had his very first West End success in Noël Coward’s Private Lives, and Laurence Olivier had made an appearance in his very first movie. In the year, 1935 Laurence Olivier had played a role in Romeo and Juliet and had become an established star. Laurence Olivier had been the co-director of the Old Vic, and had built it into a respected company. Laurence Olivier had been an independent actor-manager, and his stage career had been in the doldrums until he had joined the avant garde English Stage Company and play the main role in The Entertainer.

We have dug up these Laurence Olivier quotes from the depths of the internet and brought together best of these sayings in a single article. This post is probably the biggest database of Laurence Olivier Sayings in a single place. These famous Laurence Olivier quotes have the power to change your life by giving a novel outlook about the way you observe different aspects of your life. Hence, these popular Laurence Olivier quotes should be read with caution and proper understanding of the context. Here are tons of Laurence Olivier quotes that will open a treasure chest of Wisdom and experiences:

“I’m afraid I probably outrage the Method people.”

Laurence Olivier best quotes

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“Acting is an everlasting search for truth.”

Laurence Olivier famous quotes

“Look at that face – she could be five years old.”

Laurence Olivier popular quotes “The actor should be able to create the universe in the palm of his hand.”

Laurence Olivier quotes

“Without acting, I cannot breathe.”

Laurence Olivier saying

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“Acting is illusion, as much illusion as magic is, and not so much a matter of being real.”

“Of all the things I’ve done in life, directing a motion picture is the most beautiful. It’s the most exciting and the nearest than an interpretive craftsman, such as an actor can possibly get to being a creator.”

“If I wasn’t an actor, I think I’d have gone mad. You have to have extra voltage, some extra temperament to reach certain heights. Art is a little bit larger
than life – it’s an exhalation of life and I think you probably need a little touch of madness.”

“Work is life for me, it is the only point of life – and with it there is almost religious belief that service is everything.”

“[In 1979] You must have – besides intuition and sensitivity – a cutting edge that allows you to reach what you need. Also, you have to know life – bastards
included – and it takes a bit of one to know one, don’t you think?”

“[the only acting advice he would give] What is acting but lying and what is good lying but convincing lying?”

“Acting is a masochistic form of exhibitionism. It is not quite the occupation of an adult.”

“I’m England, that’s all.”

“[on Method acting] All this talk about the Method, the Method! WHAT method? I thought each of us had our OWN method!”

“[to a young actress who complained she was not taken seriously because she was a blonde] But my dear, it was your decision!”

“[January 1970] I don’t know what is better than the work that is given to the actor – to teach the human heart the knowledge of itself.”

“The office of drama is to exercise, possibly to exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light
relief; of tragedy, to wound them and bring the relief of tears. Disgust and terror are the other points of the compass.”

“[first address to the House of Lords, 1971] I believe in the theater; I believe in it as the first glamorizer of thought. It restores dramatic dynamics and
their relations to life size.”

“[first address in the House of Lords, 1971] I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible
sign of an inward and probable culture.”

“Surely we have always acted; it is an instinct inherent in all of us. Some of us are better at it than others, but we all do it.”

“We have all, at one time or another, been performers, and many of us still are – politicians, playboys, cardinals and kings.”

“I often think that could we creep behind the actor’s eyes, we would find an attic of forgotten toys and a copy of the Domesday Book.”

“[on whether he harbored any resentment at his forced retirement from the stage after he was fired by Britain’s National Theater] I should be soaring away
with my head tilted slightly toward the gods, feeding on the caviar of Shakespeare… An actor must act.”

“My stage successes have provided me with the greatest moments outside myself, my film successes the best moments, professionally, within myself.”

“[May 1958, on playing Macbeth at age 30 and age 48] When you’re a young man, Macbeth is a character part. When you’re older, it’s a straight part.”

“I like to appear as a chameleon. So all my career I’ve attempted to disguise myself.”

“[upon seeing Dustin Hoffman’s “method” acting technique of not sleeping and making a mess of himself to get into character while shooting Marathon Man
(1976)] Dear boy, it’s called acting.”

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“[When asked by Barry Norman why he had taken on the role of the Mahdi in Khartoum (1966), for which he was so obviously ill-suited] One doesn’t do everything
for artistic reasons, dear boy.”

“[to 1979 Academy Awards show writer Buz Kohan, after receiving his honorary Oscar] God, I mucked that up. I had no idea what I was saying but I didn’t want
to stop.”

“[upon being awarded his second honorary Academy Award in 1979, an Oscar statuette for Lifetime Achievement, “for the full body of his work, for the unique
achievements of his entire career and his lifetime of contribution to the art of film,” presented by Cary Grant] Oh, dear friends, am I supposed to speak
after that? Cary, my dear old friend for many a year – from the earliest years of either of us working in this country – thank you for that beautiful
citation and the trouble you have taken to make it and for all the warm generosities in it. Mr. President and governors of the Academy, committee members,
fellows, my very noble and approved good masters, my colleagues, my friends, my fellow students. In the great wealth, the great firmament of your nation’s
generosities, this particular choice may be found by future generations to be a trifle eccentric, but the mere fact of it – the prodigal, pure, human
kindness of it – must be seen as a beautiful star in the firmament which shines upon me at this moment, dazzling me a little, but filling me with warmth and
the extraordinary elation, the euphoria that happens to so many of us at the first breath of the majestic glow of a new tomorrow. From the top of this
moment, in the solace, in the kindly emotion that it is changing my soul and my heart at this moment, I thank you for this great gift which lends me such a
very splendid part in this, your glorious occasion. Thank you.”

“[1989] Time I was gone. Time I was dead.”

“[on ex-wife Vivien Leigh] We were like brother and sister, just as she always wanted. But fortunately, occasional incest was allowed.”

“[on Spencer Tracy] I’ve learned more about acting from watching Tracy than in any other way.”

“[on Marilyn Monroe] There were two entirely unrelated sides to Marilyn. You would not be far out if you described her as schizoid; the two people that she
was could hardly have been more different. She was so adorable, so witty, such incredible fun and more physically attractive than anyone I could have
imagined, apart from herself on the screen.”

“[on Vivien Leigh] Parts seem to haunt more actresses than actors. Poor darling Vivien was very much haunted. A Streetcar Named Desire (1951) didn’t do her
any good at all.”

“[on Vivien Leigh] Apart from her looks, which were magical, she possessed beautiful poise; her neck looked almost too fragile to support her head and bore
with it a sense of surprise, and something of the pride of the master juggler who can make a brilliant maneuver appear almost accidental. She also had
something else: an attraction of the most perturbing nature I had ever encountered.”

“[on actress Ann Harding] The pretty and highly regarded Ann Harding, a woman of great charm, integrity and beauty.”

“[on Charles Laughton] The only actor of genius I’ve ever met.”

“[on Alec Guinness] He’s an actor, that fellow, a superb actor. But over and above that he does his homework. However idiosyncratically I saw Alec playing a
part, I would be very, very cautious about criticizing it, because I know that every point about it would be backed by a complete marshaling of all available
evidence. He really does his homework.”

“[on Michael Caine] Wonderfully good company, ceaselessly funny and a brilliant actor.”

“[on Marilyn Monroe] A professional amateur.”

“[on needing to reshoot their torture scene in Marathon Man (1976) because Method actor Dustin Hoffman had gotten excessively drunk the first time so he’d
look really out of it] Oh, why doesn’t he just *act*?”

“[on Marlon Brando] Brando acted with an empathy and an instinctual understanding that not even the greatest technical performers could possibly match.”

“[on Inchon (1981)]People ask me why I’m playing in this picture. The answer is simple. Money, dear boy. I’m like a vintage wine. You have to drink me quickly
before I turn sour. I’m almost used up now and I can feel the end coming. That’s why I’m taking money now. I’ve got nothing to leave my family but the money
I can make from films. Nothing is beneath me if it pays well. I’ve earned the right to damn well grab whatever I can in the time I’ve got left.”

“[In 1983] If you’re 75, which I am, it’s damned hard to find parts. Lear is the only star part for an old man that I know of – I’ve never heard of a good
play about Methusaleh. I played the title role only once before the Old Vic. I was 39. When you’re younger, Lear doesn’t feel real. When you get to my age,
you ‘are’ Lear in every nerve of your body.”

“A sexual athlete is not likely to find sufficient energy for work of another athletic kind, and the acting of great parts most definitely was and always will be athletic, depending on inner if not on visible energy. Members of other professions that depend on the expenditure of physical energy must, I believe, find similar difficulties when attempting to double up on their energies. One has often heard that the most magnificent specimens of boxers, wrestlers and champions in almost every branch of athletic sport prove to be disappointing upon the removal of that revered jockstrap.”

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“Above all, you must remain open and fresh and alive to any new idea.”

“Acting is a masochistic form of exhibitionism. It is not quite the occupation of an adult.”

“Acting is illusion, as much illusion as magic is, and not so much a matter of being real.”

“Acting, is not a profession for adults.”

“Art is a little bit larger than life – it’s an exhalation of life and I think you probably need a little touch of madness.”

“Autograph-hunting is the most unattractive manifestation of sex-starved curiosity.”

“Don’t be afraid to be outrageous; the critics will shoot you down anyway.”

“Don’t waste your time striving for perfection; instead, strive for excellence – doing your best.”

“Have a very good reason for everything you do.”

“I am far from sure when I am acting and when I am not or, should I more frankly put it, when I am lying and when I am not. For what is acting but lying and what is good acting but convincing lying?”

“I believe in the theater; I believe in it as the first glamorizer of thought. It restores dramatic dynamics and their relations to life size.”

“I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.”

“I don’t know what is better than the work that is given to the actor – to teach the human heart the knowledge of itself.”

“I have to act to live.”

“I often think that could we creep behind the actor’s eyes, we would find an attic of forgotten toys and a copy of the Domesday Book.”

“I should be soaring away with my head tilted slightly toward the gods, feeding on the caviar of Shakespeare. An actor must act.”

“I take a simple view of life: keep your eyes open and get on with it.”

“I’d like people to remember me for a diligent expert workman. I think a poet is a workman. I think Shakespeare was a workman. And God’s a workman. I don’t think there’s anything better than a workman.”

“If he was lost for a moment, he would dive straight back into its honey.”

“If I wasn’t an actor, I think I’d have gone mad. You have to have extra voltage, some extra temperament to reach certain heights.”

“If you’re an artist, you’ve got to prove it.”

“I’m rather bored by the subject – meaning me. It’s a sort of a yoke, but at times you know, a yoke is a kind of comfort. And it’s always there.”

“In spite of a heavy disguise, a few days’ growth on my face, dark glasses, a beret and one of William’s jackets that fitted me not at all, as I emerged from a hotel in Lecce, a young fisherman pointed me out to his friends and said “Lavrenche Olivaire.” It was not all that amazing; if you’re not known in Italy, you’re not known anywhere.”

“In the great wealth, the great firmament of your nation’s generosities this particular choice may perhaps be found by future generations as a trifle eccentric, but the mere fact of it . . . the prodigal, pure, human kindness of it . . . must be seen as a beautiful star in that firmament which shines upon me at this moment, dazzling me a little, but filling me with warmth of the extraordinary elation, the euphoria that happens to so many of us at the first breath of the majestic glow of a new tomorrow.”

“It’s just like a nursery game of make-believe.”

“Lead the audience by the nose to the thought.”

“Life is enthusiasm, zest.”

“Living is strife and torment, disappointment and love and sacrifice, golden sunsets and black storms. I said that some time ago, and today I do not think I would add one word.”

“My dear boy, why don’t you try acting? (on the set of ‘Marathon Man’, to Dustin Hoffman, who had announced that he’d gone 3 days without sleep in order to ‘become’ his character”

“My stage successes have provided me with the greatest moments outside myself, my film successes the best moments, professionally, within myself.”

“No matter how well you perform, there’s always somebody of intelligent opinion who thinks it’s lousy.”

“Of all the things I’ve done in life, directing a motion picture is the most beautiful. It’s the most exciting and the nearest than an interpretive craftsman, such as an actor can possibly get to being a creator.”

“Scratch an actor and you’ll find an actor.”

“Shakespeare – The nearest thing in incarnation to the eye of God.”

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“Striving for perfection is the greatest stopper there is. You’ll be afraid you can’t achieve it. It’s your excuse to yourself for not doing anything. Instead, strive for excellence, doing your best.”

“Surely we have always acted; it is an instinct inherent in all of us. Some of us are better at it than others, but we all do it.”

“The actor should be able to create the universe in the palm of his hand.”

“The art of persuasion. The actor persuades himself, first, and through himself, the audience.”

“The humility to prepare and the self-confidence to bring it off.”

“The office of drama is to exercise, possibly to exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring the relief of tears. Disgust and terror are the other points of the compass.”

“There is a spirit in us that makes our brass to blare and our cymbals crash-all, of course, supported by the practicalities of trained lung power, throat, heart, guts.”

“Use your weaknesses; aspire to the strength.”

“We ape, we mimic, we mock. We act.”

“We have all, at one time or another, been performers, and many of us still are – politicians, playboys, cardinals and kings.”

“We used to have actresses trying to become stars; now we have stars trying to become actresses.”

“What is acting but lying and what is good lying but convincing lying?”

“What is the main problem of the actor? It is to keep the audience awake, and not let them go to sleep, then wake up and go home feeling they’ve wasted their money.”

“When you’re a young man, Macbeth is a character part. When you’re older, it’s a straight part.”

“Without acting, I cannot breathe.”

“Work is life for me, it is the only point of life-and with it there is almost religious belief that service is everything.”

“You must have – besides intuition and sensitivity – a cutting edge that allows you to reach what you need. Also, you have to know life – bastards included – and it takes a bit of one to know one, don’t you think?”

“You think you’re an artist; prove it”

“I take a simple view of living. It is keep your eyes open and get on with it. ”

“I’d like people to remember me for a diligent expert workman. I think a poet is a workman. I think Shakespeare was a workman. And God’s a workman. I don’t think there’s anything better than a workman.”

“Living is strife and torment, disappointment and love and sacrifice, golden sunsets and black storms. I said that some time ago, and today I do not think I would add one word.”

“I think the most enjoyable night for me as a performer was the Night of One Hundred Stars, when Vivien and Danny Kaye and I got into little schoolgirls’ clothes and sang ‘Triplets’”.

“I believe in the theatre as the first glamourizer of thought.”

“Of course I wanted to be a West End actor, of course I wanted money. I wanted violently to get married, I wanted to have all the earmarks of success; they appealed to me as they appealed to everyone else.”

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