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With the best intentions, the job of acting can become a display of accumulated bad habits, trapped instincts and blocked energies. Working with the Alexander Technique has given me sightings of another way... Mind and body, work and life together. Real imaginative freedom.

Alan Rickman

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Alan Rickman
Age: 69 †
Born: 1946
Born: February 21
Died: 2016
Died: January 14
Actor
Character Actor
Film Actor
Film Director
Film Producer
Graphic Designer
Screenwriter
Stage Actor
Television Actor
Theatrical Director
Hammersmith
London
Alan Sidney Patrick Rickman
Rickman
Alexander
Real
Energy
Habits
Blocked
Work
Jobs
Technique
Energies
Mind
Given
Intention
Way
Another
Instinct
Instincts
Life
Become
Habit
Imaginative
Together
Working
Intentions
Sightings
Body
Acting
Trapped
Accumulated
Best
Freedom
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More quotes by Alan Rickman

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I approach every part I'm asked to do and decide to do from exactly the same angle: who is this person, what does he want, how does he attempt to get it, and what happens to him when he doesn't get it, or if he does?
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A lot of the time I hate the theater. You think, 'I have to climb Mount Everest, again, tonight.' Oh, the theater is a scary place to be.
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If you spend any time in Los Angeles, there's only one topic of conversation.
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I knew with Snape I was working as a double agent, as it turns out, and a very good one at that.
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Market forces impose certain rules before a film can actually get made.
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I'm very aware that when one is acting in the theater, you do become kind of animal about it. And you're reliant on instincts rather than tact a lot of the time.
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I never expected to have any kind of film career, to be honest. It was all a bit of a surprise. But I was in a big hit play on Broadway. America, as many people will say, says yes more often than we do. And so I was suddenly surrounded by people saying yes. But I was aware that was 'cause of what I was in. It had a big impact.
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I have a love-hate relationship with white silk.
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I want to swim in both directions at once. Desire success, court failure.
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The audience should feel like voyeurs. Their response is absolutely crucial.
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I love working in New York theater.
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There's a voice inside you that tells you what you should do.
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I'm still living the life where you get home and open the fridge and there's half a pot of yogurt and a half a can of flat Coca-Cola.
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I think every English actor is nervous of a Newcastle accent.
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Nothing gives me as much pleasure as travelling. I love getting on trains and boats and planes.
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My parents certainly didn't have anything to do with the theater. I'm some kind of accident.
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You can act truthfully or you can lie. You can reveal things about yourself or you can hide. Therefore, the audience recognizes something about themselves or they don't -- You hope they don't leave the theatre thinking that was nice...now where's the cab?'
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I get stage fright and gremlins in my head saying: 'You're going to forget your lines'.
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When I am asked about influences, I always say I bow down to Fred Astaire, because when you look at him dancing you never look at his extremities, do you? You look at his centre. What you never see is the hours of work that went into the routines, you just see the breathtaking spirit and freedom.
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I was coming from a very cerebral, dark, difficult, layered play by Christopher Hampton and doing an action movie in Hollywood (Die Hard) with explosions, and I was holding a gun.
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