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Theater Quotes

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Theater Quotes

“I was interning at a children's theater group in Kentucky - that was my first job out of college. I had jumped around a couple of regional theaters, and I was about to go back to Maine to work at a summer Shakespeare theater there. I didn't want to just jump around the country from gig to gig. I really wanted to go to a city and get involved in a theater scene and a theater community.”

“Human beings are like detectives. They love a mystery. They love going where the mystery pulls them. What we don't like is a mystery that's solved completely. It's a letdown. It always seems less than what we imagined when the mystery was present. The last scene in `Blow Up' is so perfect because you leave the theater still dreaming. Or the end of `Chinatown,' where the guy says `Forget it, Jake, it's Chinatown.' It explains so much but it only gives you a dream of a bigger mystery. Like life. For me, I want to solve certain things but leave some room to dream.”

“In theater, there's a lot of discipline involved in doing eight shows a week for a year and a half. It's nice to be able to bring some of that bag of tools with you over to the film world, where you don't have the rehearsal, you don't have an audience. You don't have a month of rehearsal to examine these words, and you meet the guy who's going to play your brother the morning that you shoot the scene. So you need a bag of tools.”

“I grew up in the theater, and you can't improvise Shakespeare and Ibsen. You have to speak the language. But obviously, in a contemporary film, there's often room for improvisation and spontaneous things that happen. As long as I know what I'm trying to achieve in the scene, and when something comes up, I know that the response is genuine, I'm comfortable. That's really how I build everything.”

“Though films become more daring sexually, they are probably less sexy than they ever were. There haven't been any convincing love scenes or romances in the movies in a while. (Nobody even seems to neck in theaters any more.) ... when the mechanics and sadism quotients go up, the movie love interest goes dead, and the film just lies there, giving a certain amount of offense.”

“I think so many great artists are flocking to LA because the downtown art scene is so vibrant, there is cheap living and you can really flourish as an artist there. There is an unbelievably supportive and really smart, talented theatre audience in LA full of young, hungry, vibrant people. It's something that sort of makes me think of what New York must have been like in its downtown theater scene in the 1980s - before my time.”

“Something like the alleyway scene, where it's like a mini one-act play and you run the whole 18 pages of it, it's so much easier to get lost in it. That's why actors love doing theater so much, I guarantee you. It's refreshing to be able to do something where you don't have to be stopped every two seconds, and you can just play it out and it's done.”

“I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.”

“I think I got into acting because I kind of had not much else to do! I guess I was kind of looking for something challenging. I heard about the London Theater scene and it was very different from the upbringing that I had and it felt like a challenge. And the whole sort of London Theater schools, I was told that 6,000 apply and there are like 30 accepted to each one. I was like, "Yeah. Let's see if we can do that!"”

“Gareth [Edwards] was very much about including everyone in what we were making, so he would cut together different scenes to show us what we were making. And the crew, cast, everyone would go into a theater there at Pinewood Studios and watch 10 minutes of what we were making. It was always so exciting. It looked amazing, and the music was huge.”

“I suppose it is submerged realities that give to dreams their curious air of hyper-reality. But perhaps there is something else as well, something nebulous, gauze-like, through which everything one sees in a dream seems, paradoxically, much clearer. A pond becomes a lake, a breeze becomes a storm, a handful of dust is a desert, a grain of sulphur in the blood is a volcanic inferno. What manner of theater is it, in which we are at once playwright, actor, stage manager, scene painter and audience?”