Theatre Quotes
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I saw 'Sleeping Beauty' when I was, like, 6 years old at the Mercury Theatre. Then, when I came to Disney, I was in the company of these wonderful artists. People like Glen Keane, like Mark Henn, who were brilliant animators who could really bring these things to life.
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The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.
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I was never a joiner. I tried - I had people I admired and liked and wanted to hang with, but I ended up starting a theatre company and that took me back to Chicago... I guess I wasn't a scenester in the end. Something must have worked out right, as I'm still here - but I'm only a binge socialite.
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I'm never in Hollywood! I'm a theatre actor that lives in New York. I'm very seldom in Los Angeles. I don't dislike LA, I just don't think it's a very healthy place for me to be all the time. When I'm shooting a movie there and am working I'm perfectly happy. But when I'm not working or engaged in something it's a place that I wouldn't live.
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When I started drama school, theatre was the main draw. I never had any movie star notions. Not that there were family ties to the theatre, either.
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If melodrama is the quintessence of drama, farce is the quintessence of theatre. Melodrama is written. A moving image of the worldis provided by a writer. Farce is acted. The writer's contribution seems not only absorbed but translated.... One cannot imagine melodrama being improvised. The improvised drama was pre-eminently farce.
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I think the same way about theatre, you go out there and you are creating a world for a moment that can actually have a real impact on people, present some kind of story that gives you something to think about when you walk away, feeling enriched - if it works out well.
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Not once in my life have I done theatre. Being on stage is not my thing.
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I do still like television very much, but the theatre does really have something special about it.
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It wasn't until I went to college that I met the theatre people and began to admire them because they were learning a trade that was guaranteed to make money!
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Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
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If a person just takes what is socio-political and geographical from the themes of my films then that's not enough. But if the person goes out of the theatre and, for example, makes the dinner he's eating later on, extra nice then I feel that I have succeeded. We have this urge to anaesthetize the moment we're living in.
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Shaw's relations with women have always been gallant, coy even. The number he has surrendered to physically have been few – perhaps not half a dozen in all – the first man to have cut a path through the theatre and left it strewn with virgins.
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In avant garde drama ... primitivism goes hand in hand with aesthetic experimentation designed to advance the technical progress of the art itself by exploring fundamental questions: What is a theatre? What is a play? What is an actor? What is a spectator? What is the relation between them all? What conditions serve this best?
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People always make that mistake when they talk about theatre - the notion of the 'theatrical' meaning something separate from life. If it doesn't relate to life, it doesn't relate to anything.
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I did a lot of theatre.
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I need theatre for my equilibrium, because in theatre the actors don't care so much about image, about celebrity - you are more independent. There is not the narcissism, maybe, that you find in cinema.
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After joining theatre, I started thinking that acting in films was not half as challenging as theatre.
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Collaboration to me is... my favorite collaboration in the theatre is the collaboration between the actors and the audience because it's just that thing that happens when the only thing left that is left on the human scale is that human beings come to look at other human beings act out stories.
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I believe this thought, of the possibility of death - if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going.
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Brecht always liked people to be aware that they were in a theatre. I said to him more than once, but Brecht, what makes you think they think they're anywhere else?
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Like I said, when all of that goes away and you just completely lose yourself in the fantasy of it, then that's usually when I walk out of the theatre or turn off the television and just go: "That was brilliant!"
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I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.
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A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
