Phyllida Lloyd Quotes
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Margaret Thatcher was pro-choice. She voted to decriminalize homosexuality. Was not profoundly religious. She was very liberal on social issues.
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In management terms, directing opera certainly prepares you for a film set: the magnitude of it, the experts in other fields that you have to call on. Both are massive ensemble jobs in which there's incredible pressure to get things done on time and on budget - so much so that making the wrong decision may be better than making no decision at all.
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In a way, the debate about Margaret Thatcher in Britain has just gotten fossilized in this notion that she is either this she-devil who wrecked the industrial base of the country and ruined the lives of millions, or she is the blessed Margaret who saved the nation and rescued us from our post-war decline.
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'The Handmaid's Tale' is a horrifying and horrifyingly possible vision of the future.
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I worked on live studio drama, which was one weird aberration in the 1980s. I worked on the 'Battle of Waterloo,' and my job was to reload the Brown Bess muskets - the only time the audience realised it was live was when somebody leant on a button and plunged the whole studio into blackout.
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It's the job of the artist to take something that everybody thinks they know about, they've made a decision about, they will be immovable on, and to shine a light on it.
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In London, it's quite a rarefied activity to be on an analyst's couch.
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Movie-making is an extreme sport on many levels. It requires stamina such as I had never imagined.
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Shakespeare was writing about his time, and it was a time when women were beginning to demand a voice, demand a say in their lives for one reason or another, mainly to do with the economics of the time.
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If you believe that how you do your work is as influential as the work you do, then a theatre rehearsal, which is a microcosm of the world, is the perfect place to model social change because if it doesn't work this time, you can try again on the next production.
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I started working in London, and I've been free-lance ever since.
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If you have bad hair and you bite your nails, nobody expects that you can't direct plays.
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If you're an actor, you have to look spiffing. But as the director, you don't need to look so glamorous.
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I was given a mask of myself by Frances Barber when we opened 'Julius Caesar.' I looked much younger and prettier. Wearing it was certainly cheaper than Botox.
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One is always attracted to pieces of theatre with great roles for women.
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To be invited to the Park - the greatest free Shakespeare festival in the world - is a great honor, and I don't take it lightly.
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In a way, 'Mamma Mia!' was such a left-field thing for me.
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Opera is too obsessed with buildings.
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Do as much theatre as you can while you're at school.
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In the not-for-profit world, I never felt that being female was an impediment. I was, however, given my break into commercial theatre by a female producer, Judy Craymer, and women - in particular, Donna Langley, president of production at Universal - were crucial in giving 'Mamma Mia' a home in Hollywood.
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I didn't really realize I was a woman director until I walked onto the set at Pinewood Studios when I did 'Mamma Mia!' and everybody was calling each other 'Governor' and 'Sir'... and then, looking at me, 'Well... good morning!'
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There's something about doing Shakespeare with a single gender, whether it is all-male or all-female, that opens up certain possibilities. You are able to throw the behavior of the men into a particular relief and be playful within a slightly larger-than-life way with it.
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It was extraordinary to experience 'Mamma Mia!' What an injection of good spirit and heart it was.
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Art is all about giving yourself these terrifying challenges, these peaks to climb. You're at the bottom of the mountain at the start of every new project thinking, 'Am I going to make it?'