Alante Kavaite Quotes
I want my audience to leave the theatre with positive emotions through this sensorial journey in the world of precious and fragile teenage beauty. And also the idea that the difficulties that we have to go through help us reveal who we really are.
Quotes to Explore
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I did a sitcom with Desi Arnaz Jr. in a pilot called 'Whacked Out.' We were bombing, and Lucille Ball grabbed the mic and started berating the audience.
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I want to be engaged and moved by theatre, there's nothing more disappointing than being left cold. After 'The Author,' I felt wrung out emotionally, like a used tissue.
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I don't have a director. The audience directs me.
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I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.
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I've always been really involved in figuring out who my audience is and how to reach them.
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I love the studio audience. That's where I feel the most at home. You know right away if you're being funny or not.
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My son Gautham usually doesn't watch my films. But he watched 'Srimanthudu' in the theatre.
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I'm left-brain dominant, so anxiety and nervousness don't affect me; most emotions don't.
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You know, when I put out records that may not work or connect with the audience, it's because I'm pushing myself as an artist creatively, because I'm just bored doing what everyone wants me to do.
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The only theatre I ever saw was Shakespeare.
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I have a genuine love affair with my audience. When I'm on stage they're not privileged to see me. It's a privilege for me to see them.
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A few years later, my Uncle David took me to the Earle Theatre to hear Duke Ellington.
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STG and the Ramshorn Theatre are a vital part of Glasgow's rich cultural history. To abandon them now is to abandon not only our past, but our future.
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I did loads of student films and fringe theatre. I worked for free a lot.
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For my first acting job I played the role of Ensign Pulver in 'Mr. Roberts' at the Manitoba Theatre Centre.
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Theatre director: a person engaged by the management to conceal the fact that the players cannot act.
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There are a lot of pros to doing a film, as far as it helping your film career, and it is completely different financially. But theatre is the only place where you get to actually be the character, and nobody is going to come around and change it later.
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For 8,000 years, we've had lyric poetry; for 400 years we've had the novel: theatre hands its meaning down in text. Let's find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.
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One of my beliefs is that there are certain institutions within a community which stand for the spirit and heart of that community, there's the church, the local football team, the local pub and the theatre.
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When I'm talking to a large audience, I imagine that I'm talking to a single person.
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The Arab world needs to appreciate that legitimate historical claims and modern necessities are what make Israel the homeland of the Jewish people.
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The popular image that Hollywood is ruined by difficult prima donna actors is nonsense. They're certainly very nice to directors. I can't say the same about producers, who I found difficult, paranoid, and certifiably insane, mostly.
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I want my audience to leave the theatre with positive emotions through this sensorial journey in the world of precious and fragile teenage beauty. And also the idea that the difficulties that we have to go through help us reveal who we really are.
