Harold Prince Quotes
I remember when people actually wore coats and ties to theatre every night. They don't anymore. It's very different.
Quotes to Explore
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Awards for arts, where you make comparisons, don't make much sense.
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Should the time come when the county family will be taken away, then the parish will feel for some time like a mouth from which a molar has been drawn - there will be a vacancy that will cause unrest and discomfort.
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If you're going to sell stock and somebody wants to buy it at a price and that price is not a price you dictate, but demand dictates, sell it to them now.
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You can talk about and think about Muslims as you want, but you can't stop Muslims from building a mosque. You can hate Muslims from the comfort of your house or publicly, but when that becomes stopping Muslims from building a mosque or worshipping, then we are crossing the line into something else.
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I just want to be part of great stories that are told and for them to be relevant.
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I've performed Schoenberg's 'Pierrot lunaire' many times.
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The mood of the 80s - Get what you can, can what you get, and sit on the can.
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I love acting. I've been doing it since I was 16, and it's in my nature. It's the thing I do best. But as much as I love acting, I love cinema more. I always had a thing about creating images.
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Booksellers are the bartenders of the reading world. People share thoughts and interests they keep private from others in their lives.
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The more times I was turned down, the more I believed I was getting closer to making it. A lot of people in Korea say that failure is the mother of success, so I believed that more times I failed, the more likely I was to succeed.
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In the British Special Air Service, combat fitness is all about running.
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I think all television has to be about relationships and I don't think horror for the sake of it can work unless you're able to ground it in some kind of relationship.
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I usually get up between 7 A.M. and 8 A.M., have coffee, and go right to work. It's really important not to get sidetracked in the morning so I'm still in that dreamy state for my writing.
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I grew up in an era of pretty severe poverty. My parents weathered the Great Depression, and money was always a very big concern. I was weaned on a shortage mentality and placed in foster homes largely because there simply wasn't enough money to take care of the most basic of needs.
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People don't want to serve apprenticeships any more. Kids expect to be paid and treated really well and all that guff before they've achieved anything. It doesn't work like that. You have to spend five or six years being relatively rubbish and put up with it. For that you don't deserve to be getting lottery money.
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I feel very close to Maryann Plunkett and Jay O. Sanders.
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A song of mine called 'I'll Take Care of You' was on that 'Wide Open Spaces' Dixie Chicks album.
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Every character I approach, from 'Forrest Gump' all the way up to 'The Spoils Before Dying,' has a different set of requirements and always fascinates me.
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Life is the movie you see through your own eyes. It makes little difference what's happening out there. It's how you take it that counts.
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I encourage people to embrace whatever it is that makes them different. Not being like everybody, setting your own trends, being your own person, that’s what makes you cool.
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At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
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Ringside seats mean you hear the breaking of ribs, the splattered cartilage of what was once the boxer's nose, the dislocation of the jaw, the horrifying 'ugggh' that the boxer utters milliseconds after receiving a crushing left hook to the solar plexus or kidneys or head.
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We often find far more power in a symbol than in something that is an an actuality.
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I remember when people actually wore coats and ties to theatre every night. They don't anymore. It's very different.
