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!
I did some theatre. I had some smaller roles in a couple TV shows and films. I used to think I did a lot of acting, but my 'career' started when I started 'Homeland'.
In the end I think theatre has only one subject: justice.
When I play, I feel like I'm in a theatre, why should I look ugly then, because I'm a tennis-player?
My father was a classical singer of baroque music, and my older sister was in musical theatre, and I thought about doing the same thing but then realised straight acting was for me.
There are all sorts of reasons why I don't do much work in the theatre, the main one being that after two performances I feel I've given all I can. I hate repetition, I really do. It's like asking a painter to paint he same picture every day of his life.
I feel that I communicate best when I am not deliberately being linear. Along this same line, I feel some of the best sermons I've ever heard were in the theatre rather than the pulpit - as, for example, in the Theatre of the Absurd.
Trying to balance theatre and film is really important to me.
I guess we've had a very close relationship because I don't pretend to know about cinema and I think I do know a bit about theatre but he does, he respected that and so we really just had a collaboration which went completely like this.
I remember clearly watching a 'Sooty Show' at a theatre and telling my mum I wanted to be up with the puppets, not in the audience.
First, I started taking dance classes, and then I started taking singing lessons. Then my mom put me into a year-round theatre program where I did seven shows.
A prose writer never sees a reader walk out of a book; for a playwright, it's another matter. An audience is an invaluable education. In my experience, theatre artists don't know what they've made until they've made it.
For me, a theatre is a dark place. It should be mysterious; it's where we go to get away from all the utilitarian things we do in the daylight.
Firstly I did it in this huge theatre in Avignon, then to smaller places, then bigger places. You have to change the volume of the voice, give more or less. The way you have to relate to space makes it like sculpture.
I started - well, in England it works a little bit differently. You have to do Fringe theatre, which is basically free theatre. You do it in pubs and small theaters and village halls across the country, and you work for a theatre company. You're part of a troupe.
I loved theatre and film when I was growing up in Harpenden, Hertfordshire. My mum's a reflexologist and my dad's a corporate financier.
I really loved Twin Peaks. When I saw the two-hour pilot, they screened it in the big theatre. I said, I don't know what is going to happen. I'm in this and I don't understand it. This is never going to sell. Who's going to watch this thing?
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.
Our job is to make manifest the story, to be it. In a sense, the theatre is such a big star itself, bigger than any Shakespearean actor I could hire, that we should take the opportunity to fill it with voice and verse and movement, not interpretation.
The truth, the absolute truth, is that the chief beauty for the theatre consists in fine bodily proportions.
A few years later, my Uncle David took me to the Earle Theatre to hear Duke Ellington.
When I come into the theatre I get a sense of security. I love an audience. I love people, and I act because I like trying to give pleasure to people.
You take a plug and put it in a socket, and that's what the theatre is-it lights up right away. You speak, and they respond immediately.
Though I acted in hundreds of productions, appeared at the Guthrie Theatre and on Broadway in Amadeus, I discovered in my thirties that I didn't really like stage acting. The presence of the audience, the eight shows a week and the possibility of a long run were all unnatural to me.
I've never been a movie buff. If I did go to a theatre to watch a film, half the time, I would fall asleep.
It's a really good format to have, to go back to theatre and build yourself as an actor. I think it's a great skill to go from screen to stage.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
I always wanted to go into film. I love film. I loved growing up in the theatre, but I always wanted to do film all along. But, I still pursue music separately.
I like the Sci Fi channel and 'Science Fiction Theatre.' I've been doing a lot of television-watching and thinking about good songs to write.
First there was the theatre of people and animals, then of people and the devil. Now we need the theatre of people and people.
In the theatre, because you're all looking at the same thing in the same space, consciousness is no longer individual. There is a unified consciousness. Until you look and project what is happening, it doesn't exist; the audience are the ones making the theatre, not the players.
I tell my children to avoid theatre and go into cinema and TV.
Primarily, I am a prose writer with axes to grind, and the theatre is a good place to do the grinding in. I prefer comedy to 'serious' drama because I believe one can get the ax sharper on the comedic stone.
I was 12 when it really hit me. I did children's theatre camp during the summers and played a fairy in 'A Midsummer Night's Dream.' The next summer, I played Clytemnestra in 'Agamemnon' and I was like, 'OK, this is amazing.'
Then I heard this genius teacher Stella Adler - I recommend you read anything you might find about her and if you have anyone interested in theatre, you get them one of her books.
In this country, you have movie actors and theatre actors and television actors.
