John Tiffany Quotes
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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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I love singing, and I used to perform quite a lot, but now, as a director, you just tend to watch other people perform and tell them what to do.
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I had a lovely time growing up. But I was very aware of the miners' strike going on, friends' families collapsing, and people being unemployed.
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How do we compete with the 3D superscreens at the cineplex? We just make it better - because theatre is better because it's live. Instead of trying to be like the poor cousin, we need to accept that we're the king.
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When I realised, on 'The Straits,' that physical work in the theatre takes much longer than directing scenes, it was like a eureka moment. If you want to work physically, you have to accommodate it, and it takes a disproportionate amount of time.
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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.
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What has started to interest me is how you use all the different disciplines and tools we have at our disposal, and that includes going into different art forms, like music and movement, because often they can tap into things that characters can't necessarily express through words. Audiences really enjoy that total experience.
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I think associate director jobs are the best in the world, because you can do what you want and not have to take responsibility for it!
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I don't think it's good, culturally, to base all critical judgments on a single performance.
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Usually, in theatre, you're adapting existing material or creating an entirely new play. With the 'Cursed Child,' we have been given the unique opportunity to explore some of the most cherished books and beloved characters ever written, yet work with J. K. Rowling to tell a story from that world that no one yet knows - it's exhilarating.
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I don't like the idea of stepping-stones in art forms: that you do your time at a regional theatre, and then you work in London and go to the West End, and then you do films. I've never felt like following that trajectory.
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The more everything gets digitalised, the more precious the live experience of going to the theatre is.
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I have a personal issue with Shakespeare. When I first encountered him, he made me feel thick. Well, not him, but the productions I saw.
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You can only really get to any truth by telling peoples' stories.
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Sometimes on Broadway, you don't know who the investors are, and you end up making a million dollars for somebody awful.
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Theatre is a living organism. You only know if your show is working when you see it with an audience. You can also tell when it isn't working - it's horrible, and you desperately try to figure out how to make it connect.
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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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'West Side Story' is one of the greatest theatrical experiences I've had.
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There are always discussions about casting stars in lead roles in theater - especially when you're working with commercial producers - and it's not something I'm against, not at all. But any casting has to be right for the project.
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When you're growing up, it's very easy to feel lonely and insecure.
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I looked into putting 'Doctor' on my license. But the insurance premium is higher, so I don't think I'll bother.
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'Once' constantly surprises me. I think it's the power of the music and the storytelling that people connect with.
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I was pre-med at Glasgow University. I was from a family who were of the mind that if you were clever enough to be a doctor or a lawyer, why wouldn't you be?
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Even with the success of 'Once,' I can't think about making theater straight for Broadway. Too nerve-racking.