Theatre Quotes
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There is a very strong theatre-going tradition in Moscow. It has stayed strong.
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I will always choose to work in a movie based on whether I would want to watch it - if I would be willing to spend money in a theatre on it. The script and the people you will work with come after that.
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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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I had some experience writing collaboratively when I wrote for the theatre.
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Getting the call to be in The Goblet of Fire was like being welcomed into the most exclusive upper circle of some elite actors' club. You sit on set with the cream of the National Theatre and the RSC, all clutching wands or wearing witches' hats.
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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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Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
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A video taped stage performance is just - you know, it's never gonna be the same as it is if you're sitting there live in the theatre.
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I used to do a Saturday drama group called Young Blood Theatre Company with school-friends in west London - nothing to do with my mum and dad. A casting director came to pick people out for a new BBC children's series called 'MI High.' She picked me, I auditioned, and I got the job.
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I wrote my first play when I was nine. It was performed at Hampstead Theatre.
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I started in theatre, and that took me into film and television.
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I came up almost completely through the subsidised theatre. I have never been absolutely at the market interface, where I've got to sell my wares or die - I've always been protected from that.
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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 don't leave London, really, and I don't do theatre, because I want to put the kids to bed.
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Theatre has always been better disposed to colourblind casting than telly or film. Given that most television is contemporary, and it reaches 56 million people, I am disappointed there still isn't more representation.
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In the theatre, if you say 'Macbeth', all the actors will start looking very anxious. I'm so well-trained not to say it in the theatre that I can hardly say it in normal life.
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I grew up on stages. Not standing outside the 'Royal Court Theatre' wistfully, but with enthusiastic people from the community.
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I really do not see why there is not a splendid field for good work on the music hall stage, and if I did not have my own theatre taking up my time, I should rather like to go into it.
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I think that what I'd like to instil is that if you join the youth theatre, it's a gateway into greater career prospects.
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I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.
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I began modeling in N.Y. and doing commercials. That led to regional theatre and then Broadway and then movies.
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A fan once stopped me outside a theatre and gave me as a gift a signed photograph of Sir Laurence Olivier. It was strange, but nice, too.
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My representation overseas can't stand me doing theatre because it takes me out of action. But it's what I want to do. If it means passing up other possibilities, them's the breaks.
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My mother was working on her college degree throughout my childhood, and being the youngest in the family, that meant being dragged to a lot of her classes. She majored in playwriting, so I was exposed to theatre from a very young age, and it was just the most magical world to me.
