A Quote by Hugh Jackman

I always think the great parts outlive the actors that play them and that's a stage tradition, that goes back hundreds of years and it should be that way. — © Hugh Jackman
I always think the great parts outlive the actors that play them and that's a stage tradition, that goes back hundreds of years and it should be that way.
It's a shame how a lot of actors use theater as a stepping stone to film and television work; I think it shouldn't be treated that way. Maybe it's narcissism or something. I think we should always go back to it. I try and do a play a year, and I think that's really helped me.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
There's a great tradition of actors taking on parts of much less obvious sympathy.
A symphony is a stage play with the parts written for instruments instead of for actors.
I think I'm always subconsciously trying to write the ideal school play. Lots of parts for everybody, great parts for women - don't forget, more girls try out than boys in the school play; everyone gets to be in the school play.
Despite my great disappointment in American foreign policy, I am very proud of the American tradition of wild land conservation. It is the best tradition and example of land conservation in the world. It goes back a long way.
Honestly, in retrospect, when I referred to the actors from 'Prince' as non-actors or non-professionals, it was actually a great disservice to them. The fact is that they are all actors and should be viewed that way by the industry. It was our casting process that was non-professional.
It goes way, way back when we were under Sweden's rule. We always think they are better than us. We played against them so often for so many years. Every country has one opponent they want to beat and for us, it's Sweden.
I'll always be back to the stage. I have no doubt that the stage will always call me back. There will always be a character that no one else can play, and I'll be back to play it.
There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.
This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
The process of finding an actor is always difficult and there's always so many variables that come into play. Also, actors sometimes carry baggage, fans associate actors with certain parts.
The more visibility, the more opportunities for Asian-American actors to play great roles. It goes to the studios opening up roles they might not have considered Asian actors for. The talent is there. I don't think there needs to be one superstar, but having more roles open up, that's the way changes happen.
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
Memory is never complete. There are always parts of it that time has amputated. Writing is a way of retrieving them, of bringing the missing parts back to it, of making it more holistic.
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