John Tiffany Quotes
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Broadway is full of crazy people.
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I'm never going to stop making theatre, but I don't think I'll make it as much, because I don't need to. There are other things I want to do with my life. I want to sit by the sea in Yorkshire and eat Eccles cakes and spend time with my family.
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If you're going to be hosting any event or a performance or having dinner with people after a performance, it is work, but it's also social: food and a glass of wine would be involved often.
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It blows my mind that you get Shakespeare where the 'low' comedy characters have got Northern or Welsh accents.
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I hate rules. I hate 'This is the way things are done'. I hate a lack of reinvention. I hate theatre as an archeological exercise. Theatre needs to be urgent.
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I did a couple of short films when I was in Scotland.
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When I sold my flat in Glasgow, I bought a little cottage on the North Yorkshire coast. Whenever we go up from London to stay there, I'm just like, 'I'm home! I'm home in Bronte-land!'
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Some actors just have a quality, a way of combining music and character and story, where everything just falls into place.
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My need is about communicating the whole, and when the whole is there in the text and in what the actors are doing, then it doesn't need 'frou-frou,' as I call it.
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I never get star-struck. I never fanboy. Ever, ever, ever.
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Where film can eat up story, theatre needs space and breath.
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I tend to work quite a lot during the weekends. My weekend can often be about two hours on Sunday.
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I don't know how films get made, and I think I'll leave it to other people.
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We never want to update 'Black Watch,' because it's about a moment in time, and through that moment, it manages to speak about Afghanistan and all other wars. This play is 'about' Iraq, but it's actually about every war that's ever been or will ever be.
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I'm fascinated to see how 'Black Watch' connects with an American audience.
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The only thing I fear is when people say, 'I should go to the theatre more.' I say, 'We should create work that makes you not have a choice.'
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In film, if you've got to do a scene in a swimming pool, you do a scene in a swimming pool. If you've got to blow up a car, you blow up a car. In theater, you can't do that, and therefore, you have the opportunity to engage the audience's imagination in a way that's rich.
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We just don't need any more 'Macbeth's in the world, however brilliant mine might turn out to be.
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Pinocchio's really naughty. He's all impulse: 'I want to sleep now. I want to eat that. I want to run off to Pleasure Island.' It's commedia dell'arte meets Grimm's tales.
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I realise that there's something about fantasy, whether it's written by the Grimm Brothers or J. K. Rowling or Thorne or J. M. Barrie, that it gets closer to the human experience than realism every could.
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I suppose the key for me is about opening up experiences and untold stories to audiences.
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I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.
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One of the things I realised as I learned to manage a rehearsal room is that the best idea always has to win, and it doesn't matter where the idea comes from.
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I know Australians are no strangers to pubs, but in the U.K., the pub is a real meeting place because the houses can be quite small, so the pub is an extension of the living space.