Quotes of All Topics . Occasions . Authors
I've always found it strange that a director can hire any designer he wants from any country. But if he hires a foreign actor, it's like he's stolen the crown jewels and run across the river with them.
There are ways in which you can make sure that even if people come to the theatre because they know an actor or actress, by the end, theyve forgotten that, and they leave going, Wow - what an amazing play.
People say, 'If you open a movie online at the same time as in movie theatres, no one is going to go to the movies.' That's just not true. People love to go out and have a shared experience; they always will.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
There are ways in which you can make sure that even if people come to the theatre because they know an actor or actress, by the end, they've forgotten that, and they leave going, 'Wow - what an amazing play.'
I suppose the most important thing is to stay interested. It's very easy in life if you get to a place where you're successful to hit the same groove on the record player over and over again because it's safe.
One of the tasks that any artistic director has is, you're trying to bring elements together that will work. The truth is that you could bring all the best talents in the world together and produce a big turkey.
I went through a period of great rebellion within my family, when I was about 9 or 10. I was mad, I had no focus, had no real interest in anything, and so I started to do things that were just rebellious and stupid.
I've been intrigued by politics my whole life. And, yes, I am very close to the Clintons. I was a Hillary person until I was an Obama person. And she was a Hillary person, too, until she was an Obama one, evidently.
My job consists of basically masking my contempt for the assholes in charge, and, at least once a day, retiring to the men's room so I can jerk off while I fantasize about a life that doesn't so closely resemble Hell.
The more shows that are produced, the more writers are hired, producers are hired, actors are hired, directors are hired, it means the more people will get employed. It's better for the economy. It's a fantastic thing.
I've been around politics a long time. I've seen it at its best and its worst, been at so many events, listened to private conversations versus public speaking, understood the game of it, and in many ways the theatrics.
I have long been a supporter of The Princes Trust, and so when American Express asked me to launch Amex Be Inspired and help young people build their confidence and fulfil their potential, I was delighted to get involved.
We have learned the lesson that the music industry didn't learn. Give people what they want, when they want it, in the form they want it in, at a reasonable price - and they'll more likely pay for it rather than steal it.
I've been trying to take this journey over the last four years of getting away from playing manipulative and villainous characters and playing characters that are affected by what happens to them as opposed to unaffected.
You are not just, "This is the way I play it every night." You are constantly finding new ways in, new attacks, "I want to try it this way. Maybe this scene is affecting that scene. I want to attack this scene differently."
I have long been a supporter of The Prince's Trust, and so when American Express asked me to launch 'Amex Be Inspired' and help young people build their confidence and fulfil their potential, I was delighted to get involved.
Fortunately for me, I don't come from the school where you only measure success by how much money something makes or whether it has a big box-office weekend. I measure it by how much people actually participate in the process.
To me, getting up every single night and trying to reach out to an audience, and trying to dig deeper and further in the play to serve the writer and to understand yourself in that context is how you continue to grow and learn.
I never wanted to go to the Old Vic and not have it survive long after I was gone. It's not about me; it's about that theater. And the more that it's able to grow and do everything it should do without me, then I've done my job.
Im always taken aback by things that are successful that I think are just crap, and then Im completely surprised when things I do end up being successful because you walk into things and you never know Its just really remarkable.
Over the years, I've been trying to build a relationship with an audience. I've tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.
It's a great thriller or mystery, but on another level it's a film about the fact that, if you only look at a person through one lens, or only believe what you're told, you can often miss the truth that is staring you in the face.
Secret Cinema has created a new way of experiencing film. The fusion of film and theatre allows for a much more powerful experience and adds an incredibly unique dimension for the audience. It certainly did for me. I was blown away
Give people what they want, when they want it, in the form they want it in, at a reasonable price, and they'll more likely pay for it rather than steal it. Well, some will still steal it, but I think we can take a bite out of piracy.
I'm always taken aback by things that are successful that I think are just crap, and then I'm completely surprised when things I do end up being successful because you walk into things and you never know... It's just really remarkable.
I think that what is truly unfortunate is when an entire party makes a decision that they're going to block every single thing that a president wants to accomplish. It's very - it's very hard to get anything done in those circumstances.
I'm not out there trying to get press for myself nor am I trying to convince anybody that I'm living any kind of a life. I'm actually trying to convince people: I don't want you to know what I'm living, because it's none of your business.
I was terrible in my first play. After that experience, I had to face that I wasnt good enough to play with the big boys. I had to go away and learn, so I worked in regional theater for three years. I even understudied at the Kennedy Center.
I was terrible in my first play. After that experience, I had to face that I wasn't good enough to play with the big boys. I had to go away and learn, so I worked in regional theater for three years. I even understudied at the Kennedy Center.
Storytelling helps us understand each other, translate the issues of our times, and the tools of theater and film can be powerful in helping young people to develop communication/collaboration skills, let alone improving their own confidence.
[Washington, DC] feels like you're watching performance art. A lot of the time. I don't believe them, I don't believe what they say, I don't think they're being absolutely sincere. I think it's performance art. And most of them are bad actors.
When you study, as I did, every theatrical beginning in this country, none of them have been greeted well. The Royal Shakespeare Company was a disaster, Peter Hall was a disaster, Richard Eyre was a disaster, Trevor Nunn was always a disaster.
Whatever mistakes you make this time around, you will live through on your next pass. Every mistake you make, you will live through again and again, forever. So my advice to you is to get it right this time around. Because this time is all you have.
Over a spell of about three years, I played a series of roles that were, for me, all very different, but most of them came out within a six-month period. They all dealt with a kind of dark territory that in some cases had been mined before in movies.
I don't care about my personal acting career anymore. I'm done with it. After 10 years of making movies and doing better than I ever could have imagined, I sort of had to ask myself: 'What am I supposed to do with all of this success that I have had?'
In recent years we've seen an explosion of creative programming, and I think it represents a third golden age of television because the creators have more control over the story. The audience doesn't care about the platform. They care about the content.
I'm supposed to convince you, for two hours, that I'm somebody else. Now if you know everything about my life, if you think you've got me figured out and you think you know all my dark secrets, how am I ever going to convince you that I'm somebody else?
Our job, you know, in the entertainment profession is to try to illuminate and show people all sides of humanity, and it doesn't just mean that you can only do movies that are only about the good parts of us. You have to be able to eliminate the bad parts.
I believe if you go to a movie theatre, and you see something you think is incredible, if you walk out of the theatre and there was a bin in the lobby of DVDs of the film you just watched, you would buy four of them - one for you and three for your friends.
The relationship with the cast has everything to do with how a performance develops, and in a sense that while you're discovering a play in the course of rehearsal with the director, you're also discovering it with your fellow actors. We're all in it together.
Both 'Consenting Adults' and 'Glengarry Glen Ross' revolve around the economic stresses of the '90s. They are about what people do when they're pushed against that wall, and how they're manipulated. They are both morality tales, though in very different genres.
I was on a couple of scholarships. I had a job in the school administrative office. I had a job as a hat-check boy in a restaurant. I had another job as an assistant to a casting director. It took a lot to get myself enough money to put myself through Juilliard.
I want to bring theatre to a new generation, using the tools available to us, including taking it out to them on film and with new technology, but that is just so they can discover theatre. I want them to come in and sit in a theatre. This is the way to plant seeds.
What I do is interpret, not create. I may add elements and do something different. That is what is so incredible about theatre. Why do we love it that there are nine Hamletsor six King Lears over two years? We love to watch a different actor attack the same material.
When you're just able to distill it down to the idea and the feeling that a character is experiencing in a scene, it can become very, very razor sharp and really clean and really efficient and simple. And sometimes it takes twenty-five years to learn how to be simple.
I liked it because it was such a dangerous script and showed just what human beings are capable of. Here was a movie in which Morgan Freeman and Brad Pitt, who always win in every movie they ever do, simply don't win. I felt that was outrageous for a commercial movie.
To know what you want, to understand why you're doing it, to dedicate every breath in your body to achieve... If you feel you have something to give, if you feel that your particular talent is worth developing, is worth caring for then there's nothing you can`t achieve.
You've got to trust the ground you're standing on and the work you've done in telling your story. The goal should be to bring those thousands of people - viewers - together and make them one. When you feel that happening, it's usually in silence, not applause or laughter.
There are two things that have been happening over the last few decades in my opinion. First, there have been unbelievable, remarkable, pioneering advances in technology and, second, an equal amount of evolution in creativity. These two shifts are meeting at an intersection.