Top 1200 Theatre Directors Quotes & Sayings - Page 4

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.

There's a loyalty attached to football, and it is more communal than theatre. If you go to the football, it is part of the structure of your life. For lots of people, theatre is a treat.

You have to go through a big process with the Directors Guild in order to get co-direction credit. They sit you in front of this microphone in front of like 40 legendary directors, and they start grilling you.

Film has become a very passive experience, but with theatre, there is a contract made with the audience, where they participate. That's why my parents' puppet theatre was such a special place - people used their imaginations. It's a muscle that needs using.

Theatre is one of those things that children will love if they're helped to get there to see it. No child will find his or her own way to the theatre.

I am quite familiar with the vibrant theatre scene in Bengaluru, as I keep coming back to the city with my plays. Audiences here appreciate arts and are open to different types of theatre and acting techniques.

There are many actors who'll make their living in other areas, and they'll say they don't like theatre. What they're saying is that they're afraid of theatre because they know it will separate those who can from those who can't.

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

Theatre for a New Audience is one of America's most admirable and exciting theatre companites...some of the best acted and directed work to be found on American stages, engaging with the canon of world dramatic literature in a vigorous way.

I believe if you go to a movie theatre, and you see something you think is incredible, if you walk out of the theatre and there was a bin in the lobby of DVDs of the film you just watched, you would buy four of them - one for you and three for your friends.

Stoller is one of my favorite comedic directors - one of my favorite directors that I've worked with to date.

I love the theatre and theatre people.

There is always a sacred hour in the theatre - after rehearsals and before performances, in the afternoon, between three and five o'clock. Normally the theatre is empty then, and this is a wonderful hour.

Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.

At the Neighborhood Playhouse School of Theatre, Sanford Meisner said, 'When you go into the professional world, at a stock theatre somewhere, backstage, you will meet an older actor, someone who has been around awhile. He will tell you tales and anecdotes, about life in the theatre. He will speak to you about your performance and the performances of others, and he will generalize to you, based on his experience and his intuitions, about the laws of the stage. Ignore this man!'

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.

Theatre can entertain, provoke, challenge, investigate, comfort and educate. It's arrogant of a playwright to think education is more important than anything else. Writing for the theatre does not give you permission to lecture, hector or bore.

In the theatre, if you say 'Macbeth', all the actors will start looking very anxious. I'm so well-trained not to say it in the theatre that I can hardly say it in normal life.

I love the instantaneous nature of filming rather than the repetition of working in the theatre, but that maybe because I haven't had great experiences working in the theatre.

After my schooling, I started theatre. By the time I graduated, I was doing theatre 24x7. Luckily, the FTII (Film and Television Institute of India) acting course started.

To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.

You don't choose the theatre; The theatre choses you

I want to do theatre. I love theatre.

The theatre, our theatre, comes from the Greeks

I would most like to do film or TV. Possibly theatre in the future, but I'm in L.A. a lot of the time at the moment and if I was going to do theatre it would be in London.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.'

Any filmmaker, big directors, and I'm not dropping any names - I actually have couple names I want to say, but I will not - we have a ratio. Each thing you repeat, my ratio is one to four.Actually some people are ratio one to 34. I know couple directors, big directors, they are just shooting over and over.

My parents say it all began with my role of Percy the Polar Bear back in nursery school! I began dance classes at the age of five (you would never guess though) and then I went on to join my local theatre group, Glantawe Players, at the age of eight and then Swansea Amateur Dramatics Society. I then joined the National Youth Music Theatre, so I really can't remember a time when I wasn't interested in Musical Theatre!

My parents met in the theatre, and I thought that was so romantic. My dad was a scenic designer and my mom was a dancer, and that's how they met; they met in the theatre.

I don't have a preference between theatre and film; I like to do both. But I will say that there's something about theatre that is more nourishing and sustaining than film ever can be.

Theatre was my first love. I can't take the theatre out of me. And I wouldn't want to. To me, it's home.

I've always wanted to work with the best directors. Directors lead you to the best material and thus the best actors.

I think, in the past, you could buy a flat and live comfortably on theatre and touring theatre, but you can't do that anymore, which means that you have to have a certain amount of celebrity and profile to, therefore, get TV and film work.

I think I happened to work with sort of a bunch of slightly difficult male directors when I was a kid. I've since worked with lots of male directors that I love, so I no longer see the distinction gender-wise.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like you're in the way.

Female directors, directors of color are a big thing for me, which are both important voices and potent voices that need to be heard. That's how I want to engage myself as an actor going forward.

I've never done stand-up; I came via small-scale touring theatre, through the Royal Shakespeare Company, the National Theatre, then I got employed on that as an actor who had a humorous sensibility.

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.

In my opinion, there's nothing new in the theatre, ever. Theatre-makers are thieves, in the honourable tradition of charlatans. They fake it very, very well indeed for the entertainment of everybody else.

Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.

I see a ton of theatre whenever I'm not working to stay inspired. I love feeling like I'm a part of the theatre community and following the work of actors and writers I admire. I'm a big reader, too.

I treasure the dark hours in a theatre. But I don't think that, if a film does not reach the theatre, it is, therefore, not a film.

The theatre, our theatre, comes from the Greeks.

THEATRE HAS THE POWER TO MOVE, INSPIRE, TRANSFORM AND EDUCATE IN WAYS THAT NO OTHER ART FORM CAN. THEATRE REFLECTS BOTH THE EXTRAORDINARY DIVERSITY OF CULTURES AND OUR SHARED HUMAN CONDITION, IN ALL ITS VULNERABILITY AND STRENGTH.

All of my scripts are based on other people's novels. Generally, I consider myself as one who writes for theatre. I do not see film work as a continuation of writing for theatre. It is more of an interruption of the writing process.

The real writing of a piece comes only when you are performing it. It is why I like theatre. In film and TV, the image is locked forever, but in theatre, there is constant change; each performance is part of the writing process.

I'm a theatre person, that's who I am. I'm happy to make sojourns into the world of movies but I'm basically a theatre director that potters off and does a couple of movies.

When I was doing theatre in Mumbai, actors won't come because they had television. For many years, I did theatre religiously and in Mumbai, I saw people disrespecting it and it hurt me very badly.

The fact is that 'The Wizard Of Oz' has never really worked in the theatre. The film has one or two holes where, in the theatre, you need a song. For example, there's nothing for either of the two witches to sing.

I need theatre for my equilibrium, because in theatre the actors don't care so much about image, about celebrity - you are more independent. There is not the narcissism, maybe, that you find in cinema.

Nowadays, there are seven music directors in one film. I had never heard of such a thing before. If one of our old music directors was told to share a score with others, he would have left the assignment.

As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

Musical theatre goes through cycles. I came in when it was at the absolute height of musical theatre as I remember it. It was the age of the long-runners.

I guess once you've been acting for a long time, you glean the great bits of good directors and the bad bits from other directors, and you know the way that you would like to be directed.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.

I like working in theatre now and I think that once you've done a certain amount of films most actors love working in the theatre because of the camaraderie.

The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.