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When you know you have 1,000 people sitting on the edge of their seats in silence because of a shift that just happened on stage, there is no better feeling.

Kevin Spacey

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Kevin Spacey
Age: 65
Born: 1959
Born: July 26
Actor
Character Actor
Film Actor
Film Director
Film Producer
Screenwriter
Stage Actor
Television Actor
Television Producer
South Orange
New Jersey
Kevin Spacey Fowler
Sitting
Silence
Stage
Feeling
Happened
Shift
Feelings
Seats
Better
Edge
People
Edges

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I never doubted at all. If you ever doubt then you are in trouble. I never thought: 'I should do this or that in case I don't make it.' I never had a back-up plan.
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I don't want to show deleted scenes. I don't like an audience looking at what the movie might have been - if it's in the movie, it's in the movie.
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It's not even about being negative. It's just being unsettled, unsatisfied, unfinished.
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Have we become so celebrity-obsessed that there is no longer a difference between a character and an actor? I hope not.
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If you wanna compete, youve got to get into the original content game.
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Am I now supposed to go on Oprah and cry and tell you my deepest, darkest secrets because you want to know?
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It's Hard to Stay Mad When There's So Much Beauty in the World
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Secondarily, I think films that are driven by music also terrify studios.
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There are times when you do a play when you are living in the character over a two-and-a-half-hour period or longer, and you come to the end of the night, and you can feel like you were hit by a truck.
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The less you know about me the easier it is to convince you that I'm the character on screen.
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It takes stamina to get up like an athlete every single night, seven to eight performances a week, 20 weeks in a row. And there are many young performers who only learn their craft in the two minute bits it takes to film a scene. You never learn the arc of storytelling, the arc of a character that way.
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We have to start listening to nature now.
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Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
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To look in the eyes of audiences and see the kind of naughty glee that they got with being on the inside, the audience becomes your co-conspirators.
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The characters created cannot just be a mouthpiece for the writer. When you look at a piece of writing, and it's genuine and it doesn't feel like every character is just a mouthpiece for the writer, but that they've been created in such a way that they're expressing an idea that a writer wants to get across, that's when a story succeeds.
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If you haven't turned rebel by twenty you've got no heart if you haven't turned establishment by thirty you've got no brains!
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Over the years, I've been trying to build a relationship with an audience. I've tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.
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While data can only tell you what has happened in the past, it can in some ways give you a sense of what might be of interest to an audience in the future.
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The story is everything, which means it's our job to tell better stories.
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