Theatre Quotes
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My interest in theatre and storytelling began in my mother's kitchen. It was a meeting place for my mother's large circle of friends.
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Everyone the world over talks about British actors and British talent and I think that's because we were trained - until now - in theatre.
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The ending is really the most important part of the movie. If the first hour and 20 minutes is terrific and the last ten minutes stinks, everybody walks out of the theatre and says: 'That was a lousy movie!'
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Enjoy the films I do, get entertained, get your money's worth, and when you leave the theatre, leave it all behind!
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Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.
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If I didn't work in television or film, if I didn't have the right look, I never took it personally. Because there was always the theatre. I'm not a nihilist, I'm an optimist. And that has served me well in this profession.
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If you believe that how you do your work is as influential as the work you do, then a theatre rehearsal, which is a microcosm of the world, is the perfect place to model social change because if it doesn't work this time, you can try again on the next production.
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I didn't go to drama school to be a musical theatre performer. I enjoyed it, but I didn't go to do that; I went to be an actor.
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A lot of my training is in classical theatre; I've done a lot of classical plays in New York and also at the Guthrie and here and there across the country.
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Acting must be scaled down for the screen. A drawing room is a lot smaller than a theatre auditorium.
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It's been in my musical DNA since I was a little kid. I think musical theatre has really influenced everything I've done.
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I was hugely formed by stories I was told as a child whether that was in a book, the cinema, theatre or television and probably television more than any medium is what influenced me as a child and formed my response to literature, story-telling and, therefore, the world around me.
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I love old movies. The '40s theatre pace is fantastic.
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My dad and I used to do movie marathons when I was a kid at the Chinese Theatre, and I just remember thinking, 'One day I want to have a movie here' And then later on, when 'Save The Last Dance' premiered there, that was definitely a full circle moment.
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I went to college and did theatre. After that, I spent about three years in Seattle doing French theater and community theater and sorting it all out. Then I applied to graduate school and got accepted, so I started pursuing my master's in theatre at the American Conservatory Theatre in San Francisco.
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I've never been that bothered about doing stage or television. I just love doing films. With theatre, it goes on night after night.
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For a long time, it was hard for me to get my work done in Chicago. Silk Road gave me opportunities to do shows like 'Golden Child' - shows that nobody else seemed interested in. And they bring an artistic integrity to the work that matches anything you'll find at a bigger theatre.
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I've always played comedy. My background is musical comedy theatre, and that's really where my training is.
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I feel like I've cheated. I never knew what to do. I was never a good enough painter to earn a living, and so I drifted into the theatre, and I've had a successful life. I feel guilty that I've never done a day's work in my life!
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I figured as I got older, the good roles for women would be in the theatre. So 15 years ago I started building a Broadway career to try and develop the chops to be accepted as a great theatrical actress.
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Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
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Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
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When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.
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I started in theatre, and that took me into film and television.
