"I don't think actors get good training today. I put my training to use in everything I do"
About this Quote
Knotts is doing two things at once: swiping at a loosened, fame-forward industry and quietly staking a claim for himself as a craftsman, not a lucky eccentric. The first sentence lands like a plainspoken complaint, but it’s really a values statement. “Good training” isn’t nostalgia for some golden age so much as a defense of discipline in a business that’s always tempted by shortcuts. Coming from a performer whose genius looked effortless, it’s also a reminder that “natural” comic timing is usually engineered, rehearsed, and refined until it reads as instinct.
The second sentence sharpens the subtext: training isn’t something you graduate from, it’s something you cash in daily. Knotts isn’t talking about conservatory credentialing as status; he’s talking about technique as a portable toolkit. That phrasing, “everything I do,” expands acting beyond the set. It suggests professionalism as a way of moving through the world: how you listen, how you hit a beat, how you control nerves, how you hold a room without begging for it.
Context matters. Knotts rose through radio, stage, and early television, then became iconic on The Andy Griffith Show as Barney Fife: tightly wound, precise, hilariously controlled. His comedy depended on calibrated physicality and timing, not improvisational chaos. So the critique isn’t anti-new; it’s anti-untrained. Underneath is a warning: when performance becomes branding, the craft gets treated like optional software. Knotts insists it’s the operating system.
The second sentence sharpens the subtext: training isn’t something you graduate from, it’s something you cash in daily. Knotts isn’t talking about conservatory credentialing as status; he’s talking about technique as a portable toolkit. That phrasing, “everything I do,” expands acting beyond the set. It suggests professionalism as a way of moving through the world: how you listen, how you hit a beat, how you control nerves, how you hold a room without begging for it.
Context matters. Knotts rose through radio, stage, and early television, then became iconic on The Andy Griffith Show as Barney Fife: tightly wound, precise, hilariously controlled. His comedy depended on calibrated physicality and timing, not improvisational chaos. So the critique isn’t anti-new; it’s anti-untrained. Underneath is a warning: when performance becomes branding, the craft gets treated like optional software. Knotts insists it’s the operating system.
Quote Details
| Topic | Training & Practice |
|---|---|
| Source | Help us find the source |
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