Explore Quotes by Robert De Niro

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.

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.

With 'Silver Linings,' I didn't feel - I was thinking of certain things, but I just said, 'Let me go with it.' You have to know what you're doing, where you're going with the scenes, and I put a lot of work into that. But when you're out there, at the same time you gotta be ready for anything.

I'll work with a director if I think I'm going to get into a comfortable situation, and if it's someone I respect and who respects me, even if they're not so well known. Movies are hard to make, and you have to work toward a common ethic and do your best.

If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.

I'm not a big football person at all.

Leonardo DiCaprio is a very serious young actor.

I have so much respect for directors. It's a tremendous amount of pressure; you have to keep steadfast and keep what you know is right.

I don't like to watch my own movies - I fall asleep in my own movies.

I'm lucky that I have whatever I had that makes me have a successful career, if you will.

I always enjoy coming to Israel. Israelis are warm, they're energetic people. Forthright. Very smart. I always like smart people. They're nice people, you know. Aggressive, and I respect that aggressiveness because you need it in their situation.

You draw on whatever’s relevant to the part you’re playing; it makes it more personal.

Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.

When you make a movie, everyone should leave their own personal problems at home. When they start bringing those to set, filming can be very difficult... You don't need any extra drama. Put the drama into the story, in the characters.

In the casino, the cardinal rule is to keep them playing and to keep them coming back. The longer they play, the more they lose, and in the end, we get it all.

When you love someone you gotta trust them, there's no other way. You gotta give them the key to everything that's yours. Otherwise, what's the point?

Some day a real rain will come and wash all the scum off the streets.

I have to be able to trust you with my life. Do you understand?

The talent is in the choices.

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.

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.