Albert Finney Actor Quotations

You come on as a guest. You don't get the girl anymore. But that is our lives. You start off as the boyfriend, then you are the lover, then you are the husband, then you are the father, and then you are the grandfather.

It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'

She is up there with the best of them. I can only talk about my experience, but it was genuinely special.

He tells you stories, but then, after a while, when you want more, he doesn't give you more. He insists on this old elaboration, the old stories that never changes.

I think that I'm busy in the present, and I don't want to go back. Well, there's been an unauthorized biography, and you can't stop them. It didn't worry me.

She goes on the set with headphones and gives you notes. She's terrific and I always run to her now, because she is just great to work with, as well as very good at different accents.

They have to exist or not in their own right. I mean, with kids, you don't say, 'Which is your favourite,' or 'Which did you enjoy bringing up the best?'

You just feel comfortable with him, and he certainly makes sure that you're comfortable. He makes sure that you feel good and that you're happy with what you're doing.

It was great to do and it's exciting to do those things. That's another thing, that one enjoys the game.

No, she is right up there with the best I've worked with. I was very impressed with her, I really was.

We meet before the movie and she gives you charts with sounds on them and makes a tape of examples. While they are setting up the scene, I go with her to the trailer and we go through the scene and correct the speech.

All we did in Alabama was have a read through with the script, but there was, 'No, well, it needs more. You've got to do this, Albert. You've got to do that, Jessica.' It didn't feel like that at all.

I haven't seen the film yet because I just got in from London. In the scenes where the two characters are bantering with each other, it is like bobbing at the net in tennis.

No, no, I go where the work is, wherever it is. I'll go, I mean, if I select it, but I don't try and ration it out or balance it at all.

He just lets you go, really. When we were kind of supposed to rehearse, I don't remember rehearsing at all. We just sort of gossiped and chatted.

He'd just run, run all the time, and he walks about, doesn't he, he never stops. I think that they put an odometer on him one day and he walked miles.

I think that one of Tim's great qualities and abilities is in what seems like a thumbnail sketch to get something quite telling, very simply, when you're doing it or being in that thumbnail sketch, you don't feel that it's important.

You are with a new set of people, you are in a new location, there is always something new about it. I still enjoy that. It's still good fun.

Within two weeks of working with her, I realized how good she was for the role because she was absolutely with it and she has got terrific instincts, I think, as an artist, too.

You offer things up, I suppose, and he probably gently maybe changes it a little bit one way or another, but you don't feel directive as it were.

You're less likely to get the part, many parts, if you're playing people your age as opposed to people who are younger. There are fewer parts around.

I don't plan on digging that stuff up that I've kept down with my feet. Why would I want to dig it all up and examine it like an archaeologist?

I don't really look back at all. When I've made a film, I've made it. They kind of go out into the world and they're on their own really.

You can't when you're filing, you're just busy, but I didn't see... I used to come home and my girl would make me dinner and it was lovely.