Theatre Quotes - Page 30

I do like to be creative and I'm very lucky that I've been given different areas in which I'm able to do that - whether it be film or television or theatre or whatever. I'm also still into music and recording.

I prefer theatre but TV keeps you well known.

Live theatre provides a rush you can't get in film or television. But it is the TV and film work that offers the leisure to go off and do a play.

I started in theatre, and for me, it was all about transformation. You transform into the character that you're playing.

When you do a film, you get picked up in a car, lunch is free. Theatre is really hard, and you get absolutely no money.

I love the international feeling In New Yokk. Different foods. Different people. There's everything here. Museums, theatre, there's so much to do I feel guilty about not doing too many things.

I started in theatre. I went to the Boston Conservatory and majored in musical theater.

I knew 'Be Our Guest' would be performed on a set and in costume, but anyone with a history in Theatre In Education will know that can mean anything.

I get on with actors, and when I'm doing a theatre show, it's great being with them all the time. But we're all alike, and it's much nicer being with people who are different.

Doing 'EastEnders' wasn't exactly suffering, but my soul's not in quick-fix TV. Theatre doesn't pay like TV work pays, though. We all have to live, don't we?

It's great to do small plays in the theatre and then go off with Blur and play in front of thousands of people.

I'm not from a theatre background, I'm wary of rehearsals. But what I do like is hanging out together, on location.

Belonging to the Dramatists Guild Council where, with my fellow dramatists, I can directly affect (and protect) the professional lives of all American Playwrights has always made me feel that I am returning as much to the theatre as I withdraw. Because only playwrights can ensure the well-being of playwrights. No one else will do it for us.

We had our British background of traditional theatre behind us.

What I'm trying to do is find either existing properties or come up with properties or angles or stories which will create music drama. It's my obsession and most of all I would like to remain working in theatre. I think it's very much alive.

Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered.

I have always been interested in theatre and after reading the script for THE INFLICTION OF CRUELTY, I thought that being part of this show and the Fringe would be a great experience.

I never thought I'd be one of those old hams who favours theatre over everything, but I'm getting that way. Telly and film seemed more fun when I was younger; turning left on planes and washing up in nice places. But there are things that you only learn in theatre.

When I went to LA I was almost 30, I'd been nominated for two Tony awards, and on the New York theatre scene I was pretty well known. I went out to LA to meet with casting people, and I remember walking into one meeting and saying: "Hey, how are you? I'm Patrick..." And they said: "I'm so sorry! I thought you were British!" When I asked why, she replied: "Because you're 30 and I've never heard of you!"

It's very hard to just break into movies. I always felt like it would be giving up a theatre career to go and try and be in movies. So, I thought I'd exhaust the theatre thing, go as far as I can, and originate roles, be on Broadway, maybe win some Tony Awards, and then hopefully some door would open. Luckily, it did.

When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.

For seven years I did very little theatre, and I have to make up some time.

I've met actors where you think, if only you could just clean up your act and get it together, people would want to work with you. Some people are so difficult, it's just not worth working with them.

Avant-garde theatre, with its distrust of the individual (that bourgeois invention), tends to go beyond [character] and the psychological approach in search of a syntax of types and characters which are "deconstructed and post-individual.

Postmodern theatre seems unwilling to listen to talk about textual or theatrical heritage, which it treats as no more than memory in the technical sense of that word, as an immediately available and reusable memory bank.