Toggle My BrainyQuote
Quote of the Day
- Page 18
I began with dance, doing ballet at 3, then tap, jazz, modern. Then I sang in church choirs, learned how to play clarinet and drums, sang with rock bands and only then did I get into musical theatre.
My biggest ambition when I was younger was to appear on stage at what was then Nimrod, which is the theatre where my father used to take me on Sunday afternoons to see matinees. The most extraordinary things used to occur on that stage.
Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.
I did theatre a lot when I was a kid. Then I went to acting school in New York. I did a lot of behind the scenes in college. I wanted to learn while I had the time. I studied theatre and film in different capacities.
The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'
When I used to do musical theatre, my dad refused to come backstage. He never wanted to see the props up close or the sets up close. He didn't want to see the magic.
I received the most fantastic welcome to the Broadway Theatre community. I walked on stage to tremendous applause and a long standing ovation, wondering when I was ever going to be able to say my first line!
Most people don't think of Los Angeles as a theatre town, and that you have to go to New York to be in theatre, and it's really not true.
I met my wife Anne who was a sociology student, and her influence together with activities associated with the student movement of the time opened up my interests amongst other things into the theatre, art, music, politics and philosophy.
I was a football player at college and dislocated my thumb. I was out for a bit and passed the theatre and saw some lovely drama students walking into an audition for 'Much Ado About Nothing' and thought: 'That's what I'll do when I recover.' I joined that production and was hooked.
A career in the theatre demands so much commitment.
Mum wasn't at all religious, but she thought that going to the theatre was as important a ceremonial, communal experience that a person could have.
I studied at the Piccolo Teatro di Milano; I was a theatre actor.
It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.
I went to Paris for a year in 1986 to study theatre; there was a lot of clowning around, buffoonery and fencing. It was then that my own style kind of blossomed.
Because Chicago was to radio what Hollywood was to films and Broadway was to the theatre: it was the hub of radio.
I did a little theatre work after that and the following year I got another part in a television series. Then it was almost to the end of the year before I got more work. That was coming to terms with the reality of the vocation I had chosen.
I've been told if you're an actress you can't sing, if you're a dancer you can't act, you can't do theatre and be respected if you've done a TV soap, you can't have a No. 1 record. All these different things they've told me I can't do, but I wanted to do them, so I've done them.
I wanted to become a director before I wanted to become a writer. When I was 10, people would ask me what I wanted to be when I grew up, and I said, 'Walt Disney.' I wanted to make films. But I wasn't offered a camera. I was offered language. So I started telling stories in the theatre and then in my novels.
Having started out in theatre, I feel an impulse to do it as much as I can.
I was 10, and I played Jim Hawkins in 'Treasure Island' at school, and this great Liverpudlian actor called Andrew Schofield - he was Johnny Rotten in 'Sid And Nancy' - came to watch it, and he had a word with my mum and dad afterwards and told them I should have a go at the Everyman youth theatre. I've never looked back.
I remember seeing 'A Moon for the Misbegotten' with Colleen Dewhurst, and that made a really big impression on me, and I remember wanting to be like her and I still want to be like Colleen Dewhurst! My mom took me to a lot of theatre growing up, and I also remember seeing Pippin and being like, 'Wow!
The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
In a regular theatre, you'd be kind of moving your eye from one character 5 feet over to the right on the cut. In IMAX, suddenly that's like 20 feet. So I would love to do something. I think I would really want to take the massive screen into consideration so that it would be done properly.
From kings to groundlings, Shakespeare made his work profound for everybody. That is how it should be. There is no hierarchy in theatre. It makes everyone part of a collective.
C. S. Lewis
Martin Luther King, Jr.
Leonardo da Vinci
Image of the Moment
Get Social with BrainyQuote
Follow BrainyQuote on Facebook, Twitter and Google+ to share inspiring quotes with friends.
Join us on
Follow us on
Follow us on
Start your quote collection
Save your favorite quotes and create amazing collections.
Sign up, it's free!
Quote of the Day
BQ on Facebook
BQ on Twitter
BQ on Pinterest
BQ on Google+
BQ on Instagram
Quote Of The Day Feeds
Quote of the Day Email
© 2001 - 2015 BrainyQuote