A Quote by Ian Shoales

I know what love is: Tracy and Hepburn, Bogart and Bacall, Romeo and Juliet, Jackie and John and Marilyn. — © Ian Shoales
I know what love is: Tracy and Hepburn, Bogart and Bacall, Romeo and Juliet, Jackie and John and Marilyn.
Here is something that Peach, one of the Casserole Queens, says about men and women and love. You know that scene in Romeo and Juliet, where Romeo is standing on the ground looking longingly at Juliet on the balcony above him? One of the most romantic moments in all of literary history? Peach says there's no way that Romeo was standing down there to profess his undying devotion. The truth, Peach says, is that Romeo was just trying to look up Juliet's skirt.
I wanted to make a real love story with a bad ending, because a love story that ends good is the life of everyone - you and I, for example. I always say to people, You know, if Romeo and Juliet got married, nobody would care about them. Imagine Romeo and Juliet, six kids yelling, mama, mama, papa, papa.
I always wanted to be Romeo, not Juliet. Romeo is a much cooler way to be - Juliet's just up in a balcony, waiting.
I always say to people, 'You know, if Romeo and Juliet got married, nobody would care about them.' Imagine Romeo and Juliet, six kids yelling, 'Mama, Mama, Papa, Papa!'
My favorite actors when I was a kid were in their '60s. Spencer Tracy, Humphrey Bogart, John Wayne.
I love 'Bringing Up Baby.' Anything that Katharine Hepburn's in. I'm committed to the Humphrey Bogart, Cary Grant, Katharine Hepburn era of filmmaking.
This Romeo character is something I decided to create, like my alter ego. So the name Romeo was invented from the original Romeo and Juliet. I wanted to show people I'm like a modern Romeo.
I love William Shakespeare. He wrote some of the rawest stories. I mean look at Romeo and Juliet. That's some serious ghetto expletive. You got this guy Romeo from the Bloods who falls for Juliet, a female from the Crips, and everybody in both gangs are against them. So they have to sneak out and they end up dead for nothing. Real tragic stuff.
Romeo wants Juliet as the filings want the magnet; and if no obstacles intervene he moves towards her by as straight a line as they. But Romeo and Juliet, if a wall be built between them, do not remain idiotically pressing their faces against its opposite sides like the magnet and the filings with the card. Romeo soon finds a circuitous way, by scaling the wall or otherwise, of touching Juliet's lips directly. With the filings the path is fixed; whether it reaches the end depends on accidents. With the lover it is the end which is fixed, the path may be modified indefinitely.
I've always been skeptical of people who say they lose themselves in a part. Someone once came up to Spencer Tracy and asked, "Aren't you tired of always playing Tracy?" Tracy replied, "What am I supposed to do, play Bogart?" You have to develop a style that suits you and pursue it, not just develop a bag of tricks.
I was in Siena and decided I wanted to write a story set there. Then I discovered that the original story of Romeo and Juliet was set in Siena. It occurred to me that this was too much of a gift - I had to do it. That's how I ended up writing a parallel story to Romeo and Juliet.
Two planeloads of California actors and directors flew to Washington in support of the Hollywood Ten, and some of us, like John Garfield, came down from New York. There's a very famous Life magazine cover with Bogart and Bacall sitting in the hearing room. I was in between them.
I did a crazy version of 'Romeo and Juliet' once, and I played Romeo.
My first professional role was in 'Romeo and Juliet,' and I played Tybalt, who was Romeo's enemy, in a small production of that in the U.K.
When I was 10, my school did Romeo and Juliet. I was Juliet, and that was, like, the biggest deal ever. I was completely obsessed with the role.
After drama school I did a seven-month tour of Europe performing in 'Romeo and Juliet.' I played Romeo.
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