Marianne Elliott Quotes
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Staging any play is very exposing because, if you are going to do it well, you have to put so much of yourself into it.
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I always wanted to beat my own path.
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'War Horse' is just an extraordinary being.
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I felt like that growing up - that I didn't have a voice.
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If it is just another run-of-the-mill show, then what is the point?
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We're always steered towards what is good in the canon by a male perspective. I like to do plays with a female protagonist who finds her way through. My way is unusual.
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I find theater emotionally expensive and all-involving. You have to pour so much blood and passion and heart into it. And so much time. Why do that for something that's only vaguely interesting and anyone can do it?
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In subsidized theater, you are encouraged to take risks. It's about being imaginative and artistic. That's the priority. It might not be a success, but let's try.
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I always loved and secretly wanted to do 'Company.' It was produced on Broadway in 1970, and it's about a successful 35-year-old guy who's starting to think he should get married.
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I just think that you have to approach anything you do with a huge amount of integrity - I don't really care where it comes from, whether it's a children's piece or an adult piece.
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It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.
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Whether you're a man or a woman, life can be very, very difficult and confusing and desperate, and it's life-enhancing to know that somehow, there is a way through it.
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I'm always drawn to female stories with female protagonists, and I particularly yearn for more older actresses to take centre stage in 2018.
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I hope for continued bravery and risk-taking for all theatremakers in 2018 and beyond.
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My father was a director, and my mother and grandparents were actors, so I spent a great deal of my time as a teenager trying to get away from the theatre.
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It's difficult to find an actress prepared to play a fading star.
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For me, 'Angels in America' is not really about AIDS. For me, it's a metaphor for anybody who is struggling with serious illness or having to face their own demise. All of the characters face some form of destruction in themselves.
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I never want to see 'Hamlet' ever again! Never ever!
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My dad had a big influence on me, and although I was never very bright at school, I used to love philosophising with him about big universal things - and I think that's what directing is.
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Having a child is all-consuming; so is doing a play.
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I'm really fascinated by other directors' methods. I've done a lot of learning by observation.
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I'm quite unusual in directing terms: I'm a woman. I'm quite a girly girl. I was never academic.
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I suppose what's so amazing about working at the National Theatre is that, because it's a subsidized theatre, you're not trying to create a product that's going to have a mass market in order to make the money back.
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I've enjoyed lots of productions, and it's always been down to the actors I've been working with.