Top 115 Ensemble Quotes

My temperament is not the adventuresome sort that enjoys starting new projects every six months. I love ensemble, nine-to-five stability. There’s a family dynamic in making a television show that you don’t get on a movie, where you’re a hired gun for a few months.

When I chose to do ‘Carrie,’ I never had done anything on camera before. I was always onstage, so everything surprised me. Just going on set and walking into a makeup trailer and seeing Chloe Moretz and Julianne Moore – ‘Wow, I am part of this ensemble.’

Certain scripts require an ensemble cast. I’m absolutely fine with that. I will not deprive myself of the chance to be part of a good film because of insecurities or fear of losing my market. But my role must be well-defined.

In ’92, I got my first Broadway show as a performer – ‘Crazy for You.’ I was in the ensemble. In fact, I was in eight Broadway shows as a dancer. Seven of them were original shows. That’s how I learned to create something from the ground up.

I always have the same thing – which is the fear of not getting a laugh – that I’ve had from the time I was a kid; obsessing over, ‘This joke doesn’t quite work, we’ve got to get this right.’ I was always like that, whether I was a member of a six-person ensemble or whether I’m the center of a show.

I was surprised I was nominated for an Oscar because ‘Cocoon’ was such an ensemble picture. But now I’m certain it wasn’t only for ‘Cocoon.’ It was a lifetime award, so I accepted it in that vein, and it probably meant more from a recognition standpoint.

I love the camaraderie that develops on film sets and ensemble casts. It’s really special.

‘Stargate SG-1’ is one of Sci Fi’s sure-fire hits. It’s got one of the best ensemble casts on television and one of the best production teams as well.

I don’t have the time to tell you all the things I’ve learned from this cast. It’s an extraordinary ensemble because we all support each other so well.

Honestly, ‘Parenthood’ was not what I planned. I didn’t plan to do another drama. I didn’t plan to play a single mom. I didn’t plan, even, to do an ensemble show. But I hadn’t found anything I liked as much. I just connected to the show.

When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.

I love being in these ensemble comedy movies. I love working with a bunch of people and coming up with, you know, How can we make this moment funnier?

That’s the great thing about ‘Corrie’: it is an ensemble cast, and it didn’t rest on one person’s shoulders by any means.

I’ve done a lot of ensemble work, and I like that.

Within an ensemble, like in sports, if you do your little job, it makes everybody look good.

Forget the image, forget the ensemble, forget the rumours, forget the short skirts, the big hair, whatever! I owe this to the fans and I will never forget you so I want to accept this award on behalf of all of you.

Any show that has a completely gay ensemble has the very difficult task of trying to represent the community.

I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.

I’m very influenced by Mike Leigh and the way that he always has these climactic confrontations, like in ‘Secrets and Lies’ and ‘High Hopes,’ in which the ensemble cast meets in one location.

I love being part of an ensemble.

I love ensemble pieces, I love being a part of the entire tapestry of a piece, but I think character actors do have a lot more fun, and there’s a versatility involved that’s challenging and fun, to come up to speed and do what’s required of you.

I think ‘Lost in Space’ certainly shifted from being an ensemble adventure series about a family facing the unknown alien environment to this trio of comedians – Dr. Smith, the Robot, and Will Robinson being the straight guy. It definitely changed its tone over the three seasons and 84 episodes we did.

Maybe it’s just my improv and sketch background, but I’m a lot more comfortable in a group. I like sharing focus and populating an ensemble.

I had dance training from a very young age, 3 or 4… It taught me how to present myself, about preparation and working in an ensemble, and it’s something that carries with me to this day.

A lot of times, working in stand up, you’re by yourself, and so you just have to rely on yourself only… but I like working in an ensemble.

I love television, and I get so spoiled because I’m coming from such an amazing ensemble in ‘Hamilton’ to such an amazing ensemble on ‘Bull.’

I prefer ensemble casts, but with games like ‘Resident Evil 6,’ where there’s just so much dialogue and recording mo-cap, or with ‘Resident Evil: Damnation,’ where the story pace is already set by a previous set of mo-cap actors, it makes more sense to do it individually.

I firmly believe that 90 percent of the confusion that women feel when they are attempting to put together an occasion-specific ensemble is caused by fear: fear of breaking the ‘fashion rules,’ fear of violating some long-forgotten tradition, or the basic fear of looking bad.

The thing about ‘Next to Normal’ is that it really is an ensemble piece for six actors. They are all asked to do very important things in the show, and I think all six are equal in terms of telling the story.

Part of an ensemble show is realizing it’s a collaboration. It’s like a symphony. Everybody takes their turn, but it’s really the collective group that matters.

‘Big Love’ was originally an ensemble song, but it’s done now as a single guitar piece.

It really doesn’t matter whether it’s an ensemble cast or it’s a lead or what is perceived as a commercial or non-commercial or an offbeat film. None of that would matter, what really matters is the story and who’s telling the story.

I had studied at the NYU School of the Arts under Lloyd Richards, who also worked with the Negro Ensemble Company.

Luckily enough, I’ve been able to work with Ava DuVernay, who was able to rally this large ensemble and get us all on the same page for ‘Selma.’

The large ensemble cast and the fact that it was being shot in New York, combined with a lot of strong positive images as far as African Americans are concerned, really turned me on to The Best Man.

As a general rule, girls at the gym are not interested in a free power clean lesson from some doofus in a form-fitting Under Armour ensemble.

When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.

The Emmy should be an ensemble award, too. I kept howling at everyone else’s performances.

It was very much about performances, the whole ensemble thing was just great – everybody working together. Sometimes it didn’t feel like a film set. It wasn’t technically driven, it was very, very enjoyable.

I am always happiest in an ensemble.

‘Desperate Housewives’ is an ensemble cast, where I played a tertiary character. I made a lot of great friends, but that show didn’t keep me very busy.

Even on a large ensemble where their parts are relatively small – because having ten main characters obviously affects their screen time – the thing that attracts great actors is when there is that challenge to get some reality into something.

The great thing about making an ensemble show is it becomes modular. It might work on the page to cut from one scene to another, but on the screen, it’s more powerful to take that second scene and move it first or move it later.

The toute ensemble was such as to make polished society blush, when compared with these savages.

‘Ten Year’ was probably – I might say ‘Ten Year’ was my favorite filming experience of anything I ever worked on. It was totally different from ‘Moneyball’ in that it was a small budget, independent movie. It had a giant ensemble of actors, all of whom were basically working for free.

From its inception by Michael Bennett, ‘Dreamgirls’ has always been an epic story with an ensemble cast. I didn’t change that. The screen version remains, really, a group story.

I never rehearse scenes with the whole ensemble, because I need to preserve some surprise. Instead, I work with the cast individually on their characters.

That’s very important when you’re doing an ensemble piece, that you give it a variety of levels so it doesn’t get too homogenous.

I would love to do a small indie comedy, like a Wes Anderson movie or, like, an ensemble comedy like ‘The Royal Tenenbaums’ or ‘Little Miss Sunshine.’ I like comedies like that, that have a lot of heart and are about family dynamics.

I had a professor in graduate school who told us, ‘Know what you’re good at, and do that thing.’ And I thought, ‘Hands down, I’m an ensemble girl. I’m a fierce ensemble girl. I am dependable.’ I was never seen for the ingenue or the leading lady.

I don’t like the term ‘ensemble.’ It’s bland to me.

It’s really nice to pass the ball when you’re in an ensemble cast.