Marianne Elliott Quotes
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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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Having a child is all-consuming; so is doing a play.
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A bad audition is usually the director's fault, not the actor's. It's up to the director to get the atmosphere right to get the best out of your auditionees.
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'War Horse' is just an extraordinary being.
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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 wanted to beat my own path.
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If it is just another run-of-the-mill show, then what is the point?
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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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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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I felt like that growing up - that I didn't have a voice.
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I never want to see 'Hamlet' ever again! Never ever!
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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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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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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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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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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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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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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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It's predominantly a male society, predominately a male culture, predominantly a male theatre, and predominantly male critics, but that's changing, definitely.
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I hope for continued bravery and risk-taking for all theatremakers in 2018 and beyond.
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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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There's a certain type of theatre that I haven't got any time for at all - established, boring, same-old stuff without any reason or passion. There's quite a lot of it about, and it motivates me to try to do something different, something risky, raw, ugly, and challenging.
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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'm really fascinated by other directors' methods. I've done a lot of learning by observation.