Judd Nelson Quotes
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I like being a villain. Villains are more exciting.
It's very easy to confuse Sean Connery with James Bond. Sometimes in the entertainment industry, people believe the cake is more real than the baker.
Remember to be as smart as you are.
My Brat Pack buddies and I didn't exactly handle celebrity very well. Success at an early age is far more difficult to handle than failure.
Almost anything makes me laugh, especially jokes at my own expense. And I will never, ever admit to being ticklish anywhere.
I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.
The movie that's had the most effect on me is Jaws. To this day when I'm in the ocean, I'm hearing that music.
I don't have any blindness when it comes to my money. As an actor, you can get distracted by your work. I do keep an eye on my nest egg, if you will.
Catcher in the Rye had a profound impact on me-the idea that we all have lots of dreams that are slowly being chipped away as we grow up.
It's great to work with people that you like, any job, no matter what you do.
I don't know if it matters what country you're from, size of the city you're from, urban or rural, there are people that are hurting each other everywhere.
Sweets, you couldn't ignore me if you tried.
Heroes always make the right decision; I find that seldom happens in my life.
I find it very difficult to relax. I find it increasingly difficult to find outlets for my frustration.
All of the directors I've worked with I have loved and would work with again. I have no favorites.
I put less stock in others' opinions than my own. No one else's opinions could derail me.
With failure, you just try again.
I'm involved with Recording Artists and Actors Against Drunk Driving. I'm also involved with most children's causes, because children can't help the environment they're in.
Young alienation, disappointment and heartache is all a part of the first real growing up that we do.
As a kid, I had a crush on Sophia Loren and Raquel Welch.
A fancy watch, it's completely unnecessary. I just need a watch to tell the right time.
I went to acting school in New York City for two years. I studied with Stella Adler
Ice-T was just a pleasure to work with. He was a smart gentleman.
Alien's a great one. That's a scary movie.
I always thought that the badge a cop has was more like the shield that Captain America has. It's an obvious sign of good and something you'll protect other people with, but it will also protect you.
While they would have provided financial support if I had needed it, the greatest support my parents gave was emotional, psychological.
When I was in college, all the pretty women were in the theatre, so I auditioned for a play.
My first paid acting job was a movie called Fandango. It also starred Kevin Costner.
My first love is acting on stage. A sitcom is a hybrid of stage and film.
[St. Elmo's Fire] it was pretty soon after that. I know we didn't do Breakfast Club knowing we were going to do that.
I am very grateful to make my living doing what I would do for free.
It is a career of make-believe, of masks. We all have masks in life.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.
I was trained by Stella Adler for theater so you kind of give it all on every take.
[Kevin] Costner said, "You don't have to do that... this is a wide shot, so you can calm down."
You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.
Paul Gleason played the teacher. I just tortured him as best I could. 'Cause he wasn't one of the kids, you know, so it was okay. He was great.
[John] Hughes is a great loss, I think. He was the first filmmaker that could look at someone who was young without seeing them as being less.
[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.
[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.
You know who was wonderful to work with? Was Paul Gleason, may he rest in peace.
I got to play Santa, too. It's really important to play Santa, you know.
Phil Hicks was the guy that was in the ROTC, that was going to go into the Vietnam War and thought that was the responsibility of the citizen.
There was no one really like John Bender at my high school.
If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.
In a good script, it's really like a treasure map. You just focus on that, all the answers are pretty much in it.
The Dark Backward. Bill Paxton is in it with me. Wayne Newton. James Caan. Adam Rifkin wrote and directed it. It was made a number of years ago and very odd. Not for the squeamish.
Kim Coates is really funny. He's a blast. If you have to get beaten up and tortured, he's a good guy to get tortured by.
Trace Adkins doesn't talk too much, but when he does he's got great stories. He's lived a great life.
Trace Adkins is such a great guy. Really is. And he's got that incredible voice - low, deep. He throws words around like "my dental coverage."