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.
If you're interested or like it, but could be just as happy living in a regular town, having a regular job, maybe doing little theatre, you're better off and you'll be a happier person. This is too gut-wrenching and heartbreaking.
I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.
I'm thinking of doing more theatre. It makes me very happy.
My parents would always take me to the theatre, and I was bored a lot of the time. Loads of Shakespeare, and I didn't know what the hell was going on. And then, when I was 13, we went to see 'The Cherry Orchard,' and it changed everything for me.
I grew up around the theatre. My mother is an actress. I would fall asleep on tons of theatre chairs. It's in my blood; it's in my spirit and my fabric of who I am.
I was always very independent and looked out for myself. I think that ability really helped me in later years both in sports and in theatre.
'The Hateful Eight' is like theatre.
Theatre is a sacred space for actors. You are responsible; you are in the driving-seat.
A good film is when the price of the dinner, the theatre admission and the babysitter were worth it.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
What I love about working on 'Younger' is that it combines some of my favorite elements of both theatre and film.
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.
I love old movies. The '40s theatre pace is fantastic.
Filming is quite exciting because every day is different, but it can involve long hours standing around in chilly locations. Theatre is a very different challenge because every night you're striving to keep it fresh, even though you might have been performing the same play for months.
I always go back to theatre. It's probably where I'll draw my last breath.
If theatre paid as well as movies and TV, I'd do it all the time.
At the turn of the century theatre does not have to be prescriptive.
I have always considered it a beautiful metaphor that Cervantes had no fixed address in Spain. He is thus everywhere and nowhere. There are a number of sites connected with his life, but none attract hordes of travellers the way Stratford-upon-Avon and the Globe Theatre in London draw Shakespeare aficionados.
Because I like theatre and I love a challenge. With 'ZEBRA!' I've found a new Australian play where I can create a character first - that's what I live to do.
I've always found it not only easy, but enjoyable. It's necessary for us to reach out and I'm speaking for myself here. I certainly have a sense of responsibility to reach out to these people in the theatre who might look to someone like me for some guidance.
I've played a lot of roles I haven't wanted to play, either because they needed someone in the theatre or because they couldn't do it without me 'cause they don't have anyone else the right age.
I went to a lot of theatre schools, got a lot of training, did a lot of repertory where you do a different play every night. I took a lot of voice, movement, and acting classes.
I had been nine years in the theatre and hadn't had massive success. My only thing was I wanted to be an actor and I didn't care when, where, or how much for.
There's all that brain work involved, remembering all those lines in a script. I find I have to eat a lot of fish, late - but not too late - in the afternoon. Doing theatre, you need to be like an athlete in training.
We talk about theatre museums filled with old costumes and things. What we also need is a theatre museum of the old routines on videotape. We are only the custodians of those techniques, and they should be preserved.
For the theatre one needs long arms... an artiste with short arms can never make a fine gesture.
I am essentially someone who comes from the theatre. I love the theatre. Unfortunately, theatre doesn't pay the bills. Only in theatre abroad, I get a wage.
I love the comradery of doing theatre that you don't get in film.
I first got really interested in Noh in about 1977. There was an independent bookstore in Bloomington, Indiana where I was going to high school. It was a really nice place. There was a New Directions paperback. It was the Pound/Fenollosa book, 'The Classic Noh Theatre of Japan.'
Theatre director: a person engaged by the management to conceal the fact that the players cannot act.
The club shows are really intense and powerful, but for a shorter time, and the audiences are in close proximity than when I'm performing at The Palace Theatre.
Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.
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.
I was interested in opera and it seemed to me that the only possible theatre for contemporary opera would be television. So I started working towards a kind of television kind of opera.
When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.
