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You try, as an actor, to wear a mask; you're serving a story.
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When I was a child, Sunday afternoons felt like they could last a week or a month. Increasingly, as I get older, time is going so, so fast.
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I think, early on, I was very distrustful of authority yet needed a lot of approval from it. I was in that kind of bind. Which is a kind of abuse bind.
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So often, in my life, when you play a joke on another actor, you say, 'Hello? Steven Spielberg? It's for you.' What's it feel like? It's bizarre. He feels like he's a friend. He feels like he's some kid in the neighborhood who has a camera and makes films, now and then, and says, 'Would you come 'round and play?' It doesn't feel grand at all.
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I like to connect with the other actors in a fantasy situation.
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I didn't particularly aim to be a Shakespeare actor, but I suppose I had a certain gift or it; I certainly got offered lots of it. I liked Complicite and Shared Experience and Kick Theatre, and all the small theatre companies that were getting going. I wanted to be like that, making original theatre.
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We have people we admire, like Einstein, saying mystery is the most beautiful thing a human being can experience. Yet, everywhere in our culture, everything that is truly mysterious is immediately dismissed.
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It's an important thing for children to be able to make up their own words.
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You feel a lot of rage when someone dies. I have a lot of faith in nature, but it can be cruel.
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Burleigh, absolutely; and a lot about Elizabeth. I mean I found when I play Henry V a lot of connections with the hidden history of the connection between Francis Bacon and Elizabeth.
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I love poetry. If my mind gets a bit tight or bound up with information or depressed with bad news, I find a good book of poetry is like going to the gym for an hour. My mind just expands.
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Pretty much all children are helpful to act with; they lack any guile when they act.
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But I find with Francis Bacon, some of the things were in the place, and someone who was connected with these schools of thought, and someone who had a motivation that equals the scope of the comedy and the tragedy in the plays.
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I know that some people who move into film lose their nerve for the stage.
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It's an intuitive exercise to do a Shakespeare play and to go through a Shakespeare play.
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Our job is to make manifest the story, to be it. In a sense, the theatre is such a big star itself, bigger than any Shakespearean actor I could hire, that we should take the opportunity to fill it with voice and verse and movement, not interpretation.
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I think that was very important to Bacon... personally. I think he went to great efforts to get a house for the Stratford man, to make it so difficult for us to prove that it was Francis Bacon, because it is very difficult to prove.