Geoffrey Rush Quotes
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But as my voice coach keeps saying, if we actually spoke the way they imagine the Elizabethan voice might have been, we wouldn't be able to understand it.
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I went to England in the '70s, and I was in my early 20s. There was still a residue of that era of being an underclass or colonial. I assume it must have been a more aggressive and prominent attitude 40 years before that, because Australia internationally wasn't regarded as having much cultural value. We were a country full of sheep and convicts.
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When you are playing an egomaniac running a fantastical ship, you don't want him to be too suburban. Naturalism doesn't work on the high seas.
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Someone told me that there's a connection to Superman, that in an early edition of the Green Lantern comics, Tomar Re was the envoy to Krypton. That was fascinating to me.
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For certain, you have to be lost to find a place that can’t be found.
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I knew all about Edward VIII's abdication, George VI becoming the king and having a stammer, but nothing about how he got rid of it.
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Freedom is the kind of essence of being a pirate: You're away from land-locked Europe. You're not part of the society. You're part of the brotherhood of the sea, Your ship is your sense of identity. So when you approach the wheel, that's what you own.
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Yeah, well, the F-bomb - it's become as ubiquitous as the word 'like.' People just throw the word 'like' around as punctuation. And I think in a lot of everyday speech, the F-bomb has become a kind of dash or a comma.
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I always had a fantasy of being a chef, because I like kitchen life.
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This is what happens when you are on the wrong side of 40. Young adults, who could be your children, are now working with you. I was playing their parents or mentor. I started to think: Oh, I am not part of that group any more.
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What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.
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You had to be into sport and, sad to say, I'm a traitor to my country because I don't have a sporting bone in my body.
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I often thought I was in the wrong business. I was pretty seriously thinking of tossing it in before I shot Shine. I do not know why. I was pretty restless, I had been through a bad period of stress induced anxiety - panic attacks - and I was not sure of what I wanted to do.
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I was never a leading man. I've always been in the outer concentric circles in the company, being a character actor, which is a good place to be. It gives you that diversity.
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That's one of those questions where somebody says "would you like to see more women behind the camera?" And then it becomes I must have interrupted the interview to make a platform stance. But, no, I do believe it. In Australia, per capita, we've got a slightly more balanced and healthier statistic than here. I've only just started working more regularly with female ADs and its just a beautiful, different energy on set.
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My kids started school, so having a strong base in Melbourne has been a key priority. I'm not daunted by the travel. People say, 'It's so far to Australia,' and I say, 'You get on the plane, you eat well, you sleep, you wake up - and you're there.'
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Like any classic you hope to get rid of all the varnish that's built up over the centuries where people expect it to be in a certain way. It's a mighty play. It's about a very old king who also happens to be a very old father, so you've got the state and the domestic levels in there together. It's a story in extremis. Everyone knows the end, there's only two people left alive.
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I've discovered I prefer to prepare a few notes or actually write the speech so I can really hone it down to hopefully be entertaining, try and get a laugh at least by the second line, and then say what you need to say.
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Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.