A Quote by Bill Nighy

I don't do plays without jokes anymore. I've retired from those plays. I think it's bad manners to invite people to sit in the dark for two and a half hours and not tell them the joke.
I'm not sure plays tell people anything. I think plays include an audience in an experience that is happening in that moment, and that's the specialness. What people take away has almost as much to do with what they bring as what we do.
It's too easy to underestimate your audience. But it's not rocket science: bad plays don't get people on seats; good plays do.
My '60s plays were as good as most of the other plays I've written ... except I wasn't in a condition to refine them, to help in the rehearsal, or do anything. I was hardly conscious of what was going on except during the hours of the day when I was actually writing ... and that was with the aid of speed.
How I Learned to Drive I think it's one of the great American plays. Its one of those plays that will be done forever, and it's timeless. I think it, for me, has so much heart and so much love.
It's my job to get us in good plays, or more importantly, out of bad plays.
It's my job to get us in good plays, or more importantly, out of bad plays. That's what I did.
I'm a joke comic. I tell jokes. I like writing a joke, and I like when a joke works, and I like other comics who tell jokes.
All my life, I've had these flashbacks, these dreams, nightmares, daymares, like visions, where I relive certain plays. Only the bad plays. I see them over and over, as if somebody's rewinding a tape and forcing me to watch.
I love the 'Dark Knight' movies, and 'Dark Knight' and the last one are well over two hours, and I could've sat there for three and a half hours, so if it's good you have some leeway.
I think I sit down to the typewriter when it's time to sit down to the typewriter. That isn't to suggest that when I do finally sit down at the typewriter, and write out my plays with a speed that seems to horrify all my detractors and half of my well-wishers, that there's no work involved. It is hard work, and one is doing all the work oneself.
You can say what you want about Carlos Tevez, but when he plays, he plays to win, and he plays for his team-mates.
Some comedians tell nice jokes that you can tell to your kids. Some use bad words - they work 'blue.' If you don't want to hear a joke that's blue, you shouldn't go to a comedy club where a comedian who makes blue jokes is performing.
You can tell on-stage when a joke's starting to lose its pop. It doesn't mean people don't want to hear it anymore; it means I don't want to do it anymore. Because I want to move on to something that has a knee-jerk reaction just like you get when you tell somebody a joke that they've never heard.
Everybody I know who is funny, it's in them. You can teach timing, or some people are able to tell a joke, though I don't like to tell jokes. But I think you have to be born with a sense of humor and a sense of timing.
When you think about Broadway, you think broad and big, but the fact is there are so many plays that are very intimate, but fill a 1,500-seat house. Plays like 'Who's Afraid of Virginia Woolf?' have deep moments of silence and intimacy to them.
I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.
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