Peter Riegert - Quotes

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There are times when you have to fight for something you believe in, that you love.

There are times when you have to fight for something you believe in, that you love.

You have to have an ego to be an actor, but you need an ego just to get through life! Unless you want to sit on a corner and suck your thumb, it takes a healthy ego to get up in the morning and say, 'I deserve to be here.' ---->>>

As a matter of fact, part of being Jewish is the whole question of what it is to be a Jew. ---->>>

Ease is something that I think many admire in other people, in sports or whatever it may be. ---->>>

I adapted an O. Henry short story called 'By Courier,' which got nominated for a Best Short Subject Oscar. ---->>>

I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job. ---->>>

I like Guinness, and that will make anyone Irish. That and soda bread, and I'm good to go. ---->>>

In 2000, I realized I had reached that certain age when the parts get scarcer. So I decided to try my hand at directing. ---->>>

It never occurs to me that acting with a superstar is something to worry about. I figure the bigger the better because more will be demanded of me. ---->>>

It's a very neurotic time we live in, this postanalytical period where everybody goes to a shrink to solve their problems. ---->>>

Setting a movie in an earlier age gives it a mythical quality. ---->>>

Sometimes you make a connection with a writer or a piece of material, and there's not much to ask. ---->>>

You realize Shakespeare wasn't stuck for an idea when he said, 'All the world's a stage.' ---->>>

You rely on a lot of things about learning to play a particular character. ---->>>

A movie is a filmed rehearsal in a way. The audience doesn't know that because you're taking out the things that don't work. There's no comparison to the theater because it's live. But making a movie is just as challenging and exciting, I find. A movie is pure process. The theater is the result of process. ---->>>

I did 'Animal House' in 1978, then 'Local Hero' in 1983, and then in '88, 'Crossing Delancey.' And I realized that every three to five years, you need a big role to put you into the national psyche. ---->>>

I did a play in high school, then one in college. My first professional experience was off-off-Broadway. I'm conveniently blocking the title. I'm sure I was terrible. ---->>>

I got to learn from the American audience. Hearing what it is they're not getting. These are audiences, 35 to 40, an older demographic that controls seven to 10 trillion dollars. And the producers and distributors have convinced themselves this group doesn't go to the movies. ---->>>

I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work. ---->>>

I've learned there is a void in adult stories across the land. Hollywood, whatever that is anymore, is losing their ability to tell those stories because they're not even thinking of that audience. ---->>>

In 1962, the smallest things were upsetting to authority. It wasn't the Civil Rights Movement. It wasn't the Anti-war Movement. It was something else, but it was a harbinger of what was to come. ---->>>

Obviously, any time you're closer in terms of what your knowledge is to a character, you can add something. But an actor's job is not to play only people he can identify with. ---->>>

There are movies I've seen or books I've read that attach themselves in a way that's greater than the ability to understand why. How do you explain that kind of connectedness? ---->>>

There is a temptation for an actor to editorialize what they're doing. And you can't do that with Pinter. It's almost like a musical score. His lines are so specific, but they can mean different things to different people, like an alternating current. ---->>>

We don't think of them as acting, but we take on certain characteristics based on where we function, and those relationships draw out aspects of who we are as people. And that's what acting is. Different parts draw out different parts of your nature. ---->>>

When you get older, unless you're a huge star, the parts become less and the competition becomes greater. Because the guys left standing are the best. ---->>>

Biography

Peter Riegert profile (peter-riegert.jpg)
Nationality: American
Born: 04-11, 1947
Birthplace: The Bronx, New York, U.S.
Die:
Occupation: Actor
Website:

Peter Riegert (born April 11, 1947) is an American actor, screenwriter and film director, best known for his roles as Donald "Boon" Schoenstein in Animal House (1978), "Mac" MacIntyre in Local Hero (1983), fast-talking gangster Aldo in Oscar (1991), tough, no-nonsense Lt. Kellaway in The Mask (1994), newspaper editor Delbert McGinty in We Bought a Zoo (2011) and glove manufacturer Lou Levov in American Pastoral (2016) (wikipedia)