I didn't start drama school until I was 20, and I don't think I would have gotten nearly as much out of it had I gone when I was 18. I didn't show up there to please anyone. After I was accepted, I wrote, 'The Audition's Over' and put it on the door of my dorm.
All they teach you in drama school is how to do stage fights and be a pain in rehearsals.
I went to uni and then drama school afterwards and lived in quite a few student houses.
I work with a group of actors, and whenever one of us has an audition, we all get together, and we all work together on it. I think it takes us back to our film school days, our drama school days, us just working together and figuring it out because somebody else is going to see something in the material that you won't see.
My parents couldn't afford a full time drama school, but I basically just did every class I could do, and followed every drama interest I could. When I was 15 or 16 I did drama courses.
I think the point to be understood is that we're all different. I've never been a fan of theories of acting. I didn't go to drama school, so I was never put through a training that was limited by someone saying, 'This is the way you should act.'
When I left drama school, my fear was that I'd get pigeon holed into comic acting and I did so much to counter it that I got stuck in the opposite.
I paid my dues at drama school and worked backstage in every Theatre in London.
I've always got into stunts; even at drama school, I was falling down trap doors, and swinging in on ropes.
When I first got out of drama school, my original manager tried to get me to change my name because people were having trouble spelling it and saying it.
What you don't get necessarily at drama school is a gigantic mix of people. At university, there's people from every social background, and you get to go through that period of being naive and not quite sure who you're going to be.
And the only studies were - Rodney Dangerfield was my mentor and he was my Yale drama school for comedy.
When I went to drama school, I knew I was at least as talented as other students, but because I was a black man and I wasn't pretty, I knew I would have to work my butt off to be the best that I would be, and to be noticed.
I didn't act professionally before going to drama school. I don't know if I had the confidence. I didn't think I'd get in when I first auditioned for drama school, and then I did.
I went to drama school for three years, and the whole thing there is that hopefully you are introduced to a man called William Shakespeare who is the greatest of all time of all storytelling.
The only thing I think I can be accused of about paparazzi is being really naive. I didn't think about it coming along with the job and I never, during my three years at drama school, fantasized about one bit of it.
I was lucky to get into drama school and become a professional actor. No-one ever mentioned the colour of my skin. It's only when I came out of RADA - the Royal Academy of Dramatic Art - that I suddenly realised people started to refer to me as a black actor.
I wrote a play at drama school, which was a dark comedy - people laughed and cried. And then my script of one of the shows was picked up by a comedy sketch company... so then I had to write comedy.
If I had gone to drama school, I wouldn't be sitting here now because it would have blanded me out; it would have just turned me into another actor.
The thing a drama school can't give you is instinct. It can sharpen instinct but that can't be taught, and you have to have intuition. It's an essential ingredient.
My next step must be to go to drama school. Well, I get into drama school, so I did that.
I did tap dancing and stuff like that at drama school. I did ballet as well. My dance teacher and I didn't necessarily get along all that well sometimes. She's brilliant... but it's just because I don't like wearing tights that I put up a bit of a fight there, I think.
Drama school, you know, I own an acting school, Actor Prepares.
I really feel like the first day I went to drama school and I went up on stage, that I found my vocation. It's kind of a cliched thing to say but I really feel like it was what I was meant to do.
I applied to drama school when I was about 18 and didn't have any luck anywhere. They basically turned me away and said I had a bit of growing up to do. I went back to Aberystwyth and did my growing up by spending eight months working in Peacocks.
It's a basic tenet you learn at drama school. If you're playing someone evil, you can't make an objective moral judgment. You've got to get inside the character and empathize as much as possible.
I've been acting since I was 5 years old, from primary school to secondary school, did training at drama school, which was the big thing for me because they trained me, put me out into the industry.
We are the only school in America, drama school in America that trains actors, writers and directors side by side for three years in a master's degree program, and we want them - to expose them to everything.
I learned more doing 'Breakfast at Tiffany's' than I did during three years at drama school.
It's funny, because in drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.
My first paying job was a in a production of Neil LaBute's 'Bash: Latter Day Plays' at the Union Street theater in Borough. I played the 'Medea Redux' character. That was my first job out of drama school. I can't remember how much I got paid. I'm sure it was pennies.
I graduated in 1930 and I went up to the Yale Drama School for two years.
What is so weird is that young people who want to be 'celebrities' do not want to put in the hard work. They don't want to do the training, go to drama school, read Shakespeare, try different accents and study technique. They just want to be famous. It is not just in England; it's the same in America and all over Europe.
When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.
I have been out of drama school for 13 years, so there are 13 years' worth of graduates behind me.
My parents were married for sixty-five years, and I was married for about ten minutes, my first year at Yale Drama School. Something, somehow, didn't get passed on to my generation.
