I'm not a big football person at all.

Robert De Niro

Robert De Niro

Profession: Actor
Nationality: American

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I mean, the actors that I admired were Marlon Brando, Montgomery Clift, an actress named Barbara Harris. And Greta Garbo. They were great actors.

In acting, I always try to go back to what would actually be the real situation, the real human behavior in life.

When you make a drama, you spend all day beating a guy to death with a hammer, or what have you. Or, you have to take a bite out of somebody's face. On the other hand, with a comedy, you yell at Billy Crystal for an hour, and you go home.

I've never been one of those actors who has touted myself as a fascinating human being. I had to decide early on whether I was to be an actor or a personality.

There is a certain combination of anarchy and discipline in the way I work.

Movies are hard work. The public doesn't see that. The critics don't see it. But they're a lot of work. A lot of work.

When I was 15, 16, I studied with Stella Adler at the Conservatory of Acting, then I stopped again and went to the Actors Studio when I was 18.

My mother worked for a woman, Maria Ley-Piscator, who with her husband founded the Dramatic Workshop, which was connected to the New School. My mother did proofreading and typing and stuff or her, and as part of her payment, I was able to take acting classes there on Saturdays when I was 10.

I think Hollywood has a class system. The actors are like the inmates, but the truth is they're running the asylum.

Italy has changed. But Rome is Rome.

It's important not to indicate. People don't try to show their feelings, they try to hide them.

I always go back to how people behave. If you watch how people actually behave in a situation, it's very simple and honest and contained. You don't need to use as much expression, as much feeling. Some characters will boil over, and that's another thing, but a lot of times I think you can just do very, very little.

The hardest thing about being famous is that people are always nice to you.

You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that's good.