Michael Sheen Quotations

'Hamlet' is one of the most dangerous things ever set down on paper. All the big, unknowable questions like what it is to be a human being; the difference between sanity and insanity; the meaning of life and death; what's real and not real. All these subjects can literally drive you mad.

Part of the fun of life is interacting with people and not knowing what the truth is inside. Letting them reveal that to you is what binds you to people.

On the one hand Twitter gives you the opportunity to engage with people, which is great, but on the other there are people who feel they can say whatever they want, put poison out there, really, without fear of any repercussions.

Hopefully, any character I play has an anchor in reality.

Getting older is a struggle. I always feel that just under the surface of acceptance and enjoyment of the ageing process is a terrible hysteria just waiting to burst out.

I love watching Jeff Bridges act. He's brilliant.

I think the story of 'Alice in Wonderland' in a way is a reminder that life is frightening, it can shift on you at any moment.

A parent can seem very kind and gentle, but as any child knows, as soon as that parent gets stressed, they can suddenly turn and get a bit angry.

As a general thing, I've always been drawn to characters who appear to be one thing on the surface, but are actually something else underneath.

My taste in watching things runs from dramas and low-budget films to high-end fantasy/science fiction.

My tragedy is that all I want is a dog, and yet I have been cursed with cats all my life.

For a culture that has such a problem with death, we seem to deal with it in a quite bizarre way. We see people shot, killed and blown up, and we find it funny and sexy and all those things. But, the reality of it is that every day people die, and people are really sad and they grieve and they go through a really difficult process with it.

I think a good story's a good story and a good character's a good character.

By the time you are 30 you are still trying to make your 15-year-old self happy but you are a different person. You need to be brave and let go of that.

Acting itself is quite scary. Some people say that actors are show-offs, very egotistical and all that kind of stuff, but it is quite scary.

A lot of children are interested in fairies, especially young girls, and Tinker Bell is the ueber-fairy. She's the pin-up girl of fairies. She's the ultimate fairy, but she's also got a mischievous spirit and she's very strong-willed. I think a lot of youngsters recognize themselves in Tinker Bell.

I always say if I'm not good at something it's just because I've not had time to focus on it... it's just uncrafted, like a slab of rock that contains the statue of David within it.

I think parenthood is a wonderful balancing act. On the one hand, you want to spend as much time with your children as possible. On the other hand, you want to set an example for them to see that you're fulfilled in your life and in your work.

I cry when I feel moved by incredible generosity or a connection to someone. We spend so much of our lives being separated. It's the relief of connection that produces the tears.

When you look at all the miracles attributed to Jesus, they're all about change.

I think the best acting is when you allow yourself to be kind of vulnerable in the moment.

For me, what makes life enjoyable is having a shared culture and shared references.

I have a daughter, and fairies meant a lot to her growing up.

I don't do the whole L.A. nightlife thing.

There are times in my career where I can see it would be helped by having a bit more of a profile, but it's not like I refuse to do interviews, no, not at all.

I have a terrible temper. I have absolutely no problem with getting shouty or a bit physical. It's not something I'm pleased about and it doesn't happen very often, but it's very much there.

If someone has an ability to impress an audience there's a tendency to be tempted into doing just that.

I'm always aware that there are, broadly speaking, two different ways to act: there is acting, and then there's being, and I'm always more interested in that.

I think being a parent is the most challenging thing you do. That's why we're here. It's at the heart of what it is to be a human being. It's the ultimate experience because it questions everything about who you are. But it's difficult.

I think it's quite tough for people like Tom Cruise where you can never really get away from being Tom Cruise in something. You're so familiar to people and people know so much about your life.

You know, we're each the hero of our own story and we perceive what's going on around us, and especially in a relationship, from the kind of viewpoint of, 'Well, this is my story, and I'm the hero of that, and I justify what I do around it.'

I would never use prosthetics. I don't like sticking things on. I don't really like wearing wigs, either.

When I'm in America, I like to be near the sea, listen to music, watch films, read and write.

The secret to acting is don't act. Be you, with add-ons.

Normal people - i.e., people who aren't actors - are the most bizarre people you can ever come across. I'll talk to someone and come away thinking, 'They are clinically insane.'

While I enjoy spending time in L.A., Britain is my home.

I've always found it hard to say sorry.

I've always had an eye for what looks good on a man. But I've not always found it easy to find clothes that look good on me.

In some ways any film that you do has an artificiality about it. Even when you're doing the most kitchen-sinky, gritty, realistic scene you've still got 50 people standing around watching you with cameras and lights and things.

If you can define what God is, I can tell you whether I believe in it.

It's weird that I've ended up playing so many real live people, because I was never any good at impersonations at school.

Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.

The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

I'd love to go back to Europe in the '20s and '30s, for the beginning of the Psychoanalytic Movement, and Freud and Jung, and all that was going on with discoveries in quantum physics. The whole nature of reality was changing and being challenged.

I'd love to go back to Greek times and see the birth of theater and performing, in that time. It would be so extraordinary to see the need that theater came out of, in the first place. I think we could probably all learn a bit from that.

I remember someone said to me, "Never stand up when you can sit down, never sit down when you can lie down, never lie down when you can be asleep." Those are bits of advice that I haven't taken, really. I've done the opposite of them, but they have stayed with me.

Although my family - parents and sister - all work in the personnel management business, their real passion is performing, amateur operatic societies and so on.

While I enjoy spending time in L.A., Britain is my home.

It's funny the more technological advanced everything gets, the more like acting in your bedroom when you're a kid it is.

My rule of thumb is that I want to do things I'd like to go and see myself.

My own daughter is a big fan of the 'Twilight' stories, the books.

In terms of how prudish Americans were in the '40s and '50s, I have absolutely no idea. I do know about the character that I play. And I don't think it's about being prudish. I think it's about trying to balance a sense of control in this man's life.

I'm not a Tony Blair impersonator.

I'm a huge fan of science fiction and fantasy - not so much horror because I get a bit scared.

I'm a big fan of vampire movies generally and that sort of tradition of characters.

But obviously, things have changed in many ways since the '50s, when the show is started, in terms of sexuality, and how much access we have to images of it and information about it. But, the same problems always apply. It doesn't matter whether we know a lot more about sex now or if there's a lot more access to it. The same problems of intimacy, of dealing with other people, of connecting and being vulnerable with other people, which is what the show is ultimately about, still applies now, I think.

I would like to be taller, thinner and more rakish looking.

I think I'm becoming more relaxed in front of a camera. I suppose I'll always feel slightly more at home on stage. It's more of an actor's medium. You are your own editor, nobody else is choosing what is being seen of you.

Well, I think tone is very important with this show [Masters of Sex] because there are certain elements or certain aspects to the show that may be reminiscent of other shows. But, it really is a very new kind of show, in terms of the subject matter and the way it's being dealt with, and the fact that it's about real people and real events.

When I was at drama school, I wanted to change the world, and thought I had some great wisdom to impart to people about humanity. Now that I'm older, I know enough to realise that I know nothing at all.

My chief gifts are - naturally good at all sports with a raw talent for pretty much everything, which if nurtured could develop into improper talent.

We see death constantly on film.

My dad is a Jack Nicholson lookalike and a frustrated performer, my mother's into reading and poetry. I suppose the thing I owe them most is my confidence.

I find increasingly that the more extreme are the things going on in your life, the more cultural reference points fail you. More mythical reference points actually help, and you realise that's what myths are for. It's for human beings to process their experience in extremis.

Stories have always been the things that entertain me and make me feel happy and sad and move me and give me the experience of being able to live many lives in one lifetime. It's the best thing about being alive.

It has to be absolutely believable. It's also going between images and scenes with nudity and sexuality that would be seen, in conventional terms, as kind of sexually exciting. It's up against things that are much more medical and gynecological, and notoriously we, as a culture and a society, have some issues with that kind of thing.

I suppose I'm something of an eccentric dresser.

I perceive and relate to the world through where I grew up; that's part of me. It's what I judge everything else against.

I try not to pay any attention to clothes fascism and I'd rather be thought of as someone who has his own sense of style.

You don't want to get into doing the same thing, over and over again. I know I don't.

I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.

Everyone deserves compassion.

No matter how difficult things are, and no matter how much grief and loss there is, you can turn it into something positive.

Americans are much more open than people in Britain.

A lot of the times when I've auditioned for parts in America, the answer is, 'Sorry, we need a bigger name.'

In the case of two actors connecting with each other and trusting each other, our bodies have memories without us having to consciously think about it, so rather than think, "Oh, I must think about my daughter dying," you just let that go and trust that you have all the emotions you need in there, and by losing yourself in the scene, that stuff kicks in without having to spend the day thinking about horrific things happening to your own child.

When you come to actually act, it's a game. It may be a very serious game, but it's still a game. If you lose that sense of play, the work suffers.

I've always loved animation and animated films.

I am prone to get carried away thinking about creative projects.

I enjoy doing things that involve research because it's part of what I enjoy about acting.

I don't want to do something that I've done before; I can't see the point of it.

I don't find the life in Hollywood all that meaningful or inspiring.

We live in a bubble of the fantasy of death, but the reality of it is something that we obviously all face and have to deal with, at some point.

I don't do the whole L.A. nightlife thing.

I suppose I've got a reputation for playing quite extreme characters and making them quite believable.

Hopefully, any character I play has an anchor in reality. The more fantastical characters, or fantastical worlds that they inhabit are really fun and allow you, in some ways, to tell stories and reveal things about our lives that would be harder to take, in a more realistic setting.

I can be a lazy dresser.

I live a very Kenneth Williams-like existence.

I love being able to play as many different characters, in as many different worlds as I possibly can. That's what I really enjoy.

Change the scheme! Alter the mood! Electrify the boys and girls, if you'd be so kind.

I was obsessed with football when I was growing up.

It's interesting that in searching for monsters to play you often end up playing leaders.

What's enjoyable for me, as an actor, is to do as many different things as possible.

With vampires, there is such a great tradition that you suddenly find yourself a part of. Each generation reinvents what that means to them.

The more you think that you are watching a show about sex, the more you ultimately are watching a show about the challenges of just connecting with human beings and being intimate.

My experience of working on this show, even though there is so much about sex and sexuality, and we find out a lot of facts and statistics that are very interesting, in their own right, I found that I started talking about relationships more, and the emotions, the difficulties and the challenges. So, I became far more open about that, which I think is probably an indication with the show itself.

Having said that, what I think we found, in doing the show, and in life, generally, is that the more you try to separate sex from everything else, it's impossible. You can't. The act of observation affects the actual experiment, and we see that in this.

Nothing can be left until the last minute, so that everyone knows exactly where they are. Everyone is comfortable and everyone feels safe because we want people to be able to keep coming into this show and taking those risks. There are a lot of risks in this show, not just nudity, but emotional risks. We want the best actors to feel comfortable about coming in and exploring this subject matter with us.

We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.

So, if they're coming in and having to do scenes that involve nudity or sexuality, in some way, the utmost important thing is that everyone feels comfortable and safe. If there's any gray area, that's going to be a problem.