Jason Robards Quotes
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When I was little, my father was one of the biggest names in Hollywood. Suddenly - and how it happened to him was always a great mystery to me - he wasn't a star anymore; he was on the fringe. From the time I was 14, I was always conscious of a sense of worry, of terrific insecurity - agents, phony talk, the waits for the phone to ring.
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Eugene O'Neil is always exploring our want to love but can't get it out there.
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That's what interests me about film: directing.
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I used to just do movies for alimony purposes, between plays.
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I did a lot of violent junk just because I needed the money - alimony movies, you might call them - and then I decided to start turning down the junk scripts and wait for something better, no matter how long.
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To be true to a play, you can't add something that takes away from the author's intent.
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As a baseball player, you know the commodity you're selling, but with acting, you wonder, 'What the hell am I doing that is so hot?'
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My father has the most tremendous personality and wonderful looks - he looks like Fredric March.
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Actors usually have a lot in common with kids.
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I almost failed one drama course. All the actors talked in phony accents. It shocked me. I went out for track instead.
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I've always wanted to be part of a family.
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I always wanted to act. To be with my friends. To share something with the audience about the human condition.
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Projection of sound gives the stage a life different from real life. As actors and interpretive artists, we must not only be able to know the attitude of the script, we must also make ourselves heard - without amplification.
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'Iceman' covers a bigger scope than 'Long Day's Journey.' But they're both fabulous pieces of work. 'Iceman' is like a symphony. It's got all the movements, all these different voices. 'Long Day's Journey' is more like a beautiful string quartet.
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It's part of an actor's equipment to project a voice.
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We grow each day or don't grow. Go the other way. We're a different person all the time. The human being is something happening differently every day. That's the challenge of doing a play: using your instrument to learn and to pull out these things.
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I love the theater because it's alive. It's a beginning, a middle and an end, and it begins a life.
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I go to the theater and dream. You learn your lines, and that gives you the security to allow the imagination and heart to come out.
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I have six children, and we neglect our older ones more. Because we were so busy trying to make a living, we just say hello and goodbye... I'm sure those things stick with you.
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Once you're on, nobody can say, 'Cut it.' You're out there on your own, and there's always that thrill of a real live audience.
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I got hooked on 'All Things Considered.'
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I don't want actors reasoning with me about 'motivation' and all that bull.
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It was 1939. There was no money or jobs around. I did my parents a favor and joined the Navy.
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Any actor worth his salt is looking for truth, the core of truth of the particular situation he is portraying, of that play. The playwright, the actors and the audience, that's what we're all there seeking. When it's working, time is destroyed. Sometimes 'Moon,' a play of four hours, would go by in a snap of the fingers.