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 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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I used to just do movies for alimony purposes, between plays.
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My father has the most tremendous personality and wonderful looks - he looks like Fredric March.
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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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I've always wanted to be part of a family.
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Actors usually have a lot in common with kids.
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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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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 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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It's part of an actor's equipment to project a voice.
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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 don't want actors reasoning with me about 'motivation' and all that bull.
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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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'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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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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It was 1939. There was no money or jobs around. I did my parents a favor and joined the Navy.
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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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I sort of go with the flow of what's happening on the set.
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I was a radioman first class in the Navy. I put in seven years. I was around a lot of admirals; I served on destroyers, cruisers, and a flat top for a little while.