A Quote by Austin Pendleton
People's relationship to what they want from theatre is changing. People, including me, are still looking for the next STREETCAR NAMED DESIRE. And people can't or won't write that anymore.
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People who don't know how old I am can cast me as the woman in 'Girl with a Pearl Earring' and can cast me as Stella in 'Streetcar Named Desire,' and they are miles apart.
'Death Of A Salesman,' 'Streetcar Named Desire,' these are the things that, when I was growing up, made me want to be an artist.
I think when you write songs, you write about people... People are the source of my material. And London is a wonderful place to be for people. So, the next time you're sitting in a park somewhere, and you see someone like me looking at you, don't phone the police. I'm just writing
People look at me as some bruiser, but I want to entertain people. I want people to applaud. I want to be the cause of people being happy, their emotions changing, to tell me I did a good performance.
They told me to take a streetcar named Desire and then transfer to one called Cemeteries and ride six blocks and get off at - Elysian Fields!
I would really have liked to have gone to Broadway with 'A Streetcar Named Desire.' I was proud of that.
I'm in the theater because of two plays: 'A Streetcar Named Desire' and 'Death of a Salesman.'
I don't want people thinking of me sexually. I don't want people to be like, 'She's hot-looking,' you know? I want them to listen to me for what I am saying. And I think the best way to do that is to sniff my armpits, and like, sit and burp every now and then. It just completely throws people off. I had a couple of offers to do some hot scenes in the shower with some guy and to make it real hot and sexy. The next thing you know, I'd be the next J.Lo or something. But that's easy. I want it the hard way.
I write so that people will read what I write. I don't want to write a book that a thousand people read, or just privileged people read. I want to write a book whose emotional truth people can understand. For me, that's what it's about.
Growing up, I loved films like 'A Streetcar Named Desire' and 'On the Waterfront' and became a huge fan of Marlon Brando.
I had self-doubt about whether my story was interesting to people. I didn't want to write something that was anecdotal. It was important to me that people would get something out of my book. I want people to read it and say, "Now I don't feel so alone," or "I'm going to remember that next time I'm being an asshole."
People would ask me to autograph their bodies and then the next time I'd see them on tour they'd have my autograph tattooed. I decided I wouldn't write on people anymore, but I'd give them arms and legs and if they wanted those autographed I'd do that.
If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.
I've always believed in people's capacity for goodness. I still believe that people are good. What I'm not so trusting about anymore is their relationship to their own goodness.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
You feel like people are looking at you like, 'I wanted the old Kathleen. Where's the old Kathleen?' I felt that way in the beginning of Le Tigre. I felt people were like, 'You're not angry enough anymore.' People still ask me that. 'Are you still angry?' I'm like, 'About what? About that question? Yes.'
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