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In the studio the director controls the actor’s every move, every inflection, every expression.

Bela Lugosi

It took me years to live down Dracula and convince the film producers that I would play almost any other type of role.
BELA LUGOSI

Play Roles Years
Every actor is somewhat mad, or else he’d be a plumber or a bookkeeper or a salesman.
BELA LUGOSI

Actor Mad Plumbers
I’ll be truthful. The weekly paycheck is the most important thing to me.
BELA LUGOSI

Important Paycheck Truthful
To portray a maniac offers a compelling challenge.
BELA LUGOSI

Challenges Compelling Offer
I don’t have a dime left. I am dependent on my friends for food and a small old-age pension.
BELA LUGOSI

Age Dependent Dimes
Because of my language and the pantomime with which most Europeans accompany their speech, I was catalogued as a heavy.
BELA LUGOSI

heavy Language Speech
That is different, to have someone think that I am evil when I really am not.
BELA LUGOSI

Different Evil Thinking
Women have a predestination to suffering.
BELA LUGOSI

Predestination Suffering Women
I look in the mirror and say to myself, Can it be you once played Romeo?
BELA LUGOSI

Be You Looks Mirrors
Circumstances made me the theatrical personality I am, which many people believe is also a part of my personal life.
BELA LUGOSI

Believe People Personality
In Hungary, acting is a career for which one fits himself as earnestly as one studies for a degree in medicine, law, or philosophy.
BELA LUGOSI

Career Law Philosophy
The stage is near and dear to me.
BELA LUGOSI

Dear Near Stage
I never drink… wine.
BELA LUGOSI

Drink never Wine
In making theories, always keep a window open so that you can throw one out if necessary.
BELA LUGOSI

Necessary Theory Window
The love-bite, it is the beginning. You will be irresistible.
BELA LUGOSI

Bites Happen Irresistible Tomorrow
If my accent betrayed my foreign birth, it also stamped me as an enemy, in the imagination of the producers.
BELA LUGOSI

Betrayed Enemy Imagination

In the studio the director controls the actor’s every move, every inflection, every expression.

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In the studio the director controls the actor’s every move, every inflection, every expression.

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