Top 85 Quotes & Sayings by John Tiffany - Page 2

You can only really get to any truth by telling peoples' stories.

I'll always have a relationship with Scotland.

I'm a sucker for emotionally exploitative cello.

The Black Watch is one of the most illustrious regiments. They've been at the vanguard of British military operations for 400 years. Something they're very proud of is what they call 'The Golden Thread,' where you can trace a line back from them to the first Black Watch soldiers who were from the Highlands, spoke Gaelic, and wore the kilt.

What has started to interest me is how you use all the different disciplines and tools we have at our disposal, and that includes going into different art forms, like music and movement, because often they can tap into things that characters can't necessarily express through words. Audiences really enjoy that total experience.

There are always discussions about casting stars in lead roles in theater - especially when you're working with commercial producers - and it's not something I'm against, not at all. But any casting has to be right for the project.

I love mishmash and the chaos of art forms.

I know Australians are no strangers to pubs, but in the U.K., the pub is a real meeting place because the houses can be quite small, so the pub is an extension of the living space.

My need is about communicating the whole, and when the whole is there in the text and in what the actors are doing, then it doesn't need 'frou-frou,' as I call it.

Only when you don't impose things on it do you get real political theatre.

I've never understood why anyone would want to join the army, but that's irrelevant. The fact of the matter is that, as long as we go on voting in governments who are prepared to take troops into an illegal war, that army is a necessity.

When you tell a story that you know is having an effect on the audience, that, for me, is the transforming thing.

It's very hard to argue with the politics of 'Black Watch,' because it is not an opinion; it is just the true stories of these boys, and any opinions expressed are theirs.

I've been in Glasgow since I was 18, on and off.

Theatre is a playground. It really is, and we should use that playground more.

'Once' constantly surprises me. I think it's the power of the music and the storytelling that people connect with.

The more everything gets digitalised, the more precious the live experience of going to the theatre is.

We never want to update 'Black Watch,' because it's about a moment in time, and through that moment, it manages to speak about Afghanistan and all other wars. This play is 'about' Iraq, but it's actually about every war that's ever been or will ever be.

I'm fascinated to see how 'Black Watch' connects with an American audience.

I suppose what I aspire to do is to make it easy for the audience to connect with a story.

Usually, in theatre, you're adapting existing material or creating an entirely new play. With the 'Cursed Child,' we have been given the unique opportunity to explore some of the most cherished books and beloved characters ever written, yet work with J. K. Rowling to tell a story from that world that no one yet knows - it's exhilarating.

Sometimes it should be the job of Broadway to introduce stars as well as cast them.

I'm not interested in putting naturalism on stage - I want passion.

Some actors just have a quality, a way of combining music and character and story, where everything just falls into place.

The idea of audiences becoming part of the show is, I think, where theatre is going.