A Quote by Brian Cox
I've directed a couple of times in the theater, but I wouldn't make a habit of it because it's too consuming.
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It’s like when you’re excited about a girl and you see a couple holding hands, and you feel so happy for them. And other times you see the same couple, and they make you so mad. And all you want is to feel happy for them because you know that if you do, then it means you’re happy, too.
Pretty much from 1979 through 1988, the backbone of my career was the theater. Working on Broadway a couple of times, working off-Broadway, and also doing a lot of regional theater. Make no mistake, I lived very frugally. I had an apartment that was real cheap. I would get two or three jobs per season, and in between I'd be on unemployment.
I had a couple come in with a negative amortization mortgage on a house that costs way too much relative to their income. They're consuming real estate, not investing in it.
I've been an actor for a very long time, and I've had the opportunity to do theater a couple of times.
My happiest times in the theater are when I do ensemble pieces. I really got into theater because of that closeness.
I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent. And in the lab, too, the photochemical process was very difficult to watch, because sometimes they were shipping prints that you didn't even know were two points off or three points off. We suffered greatly to make these films, and they'd be out-of-focus, with the sound too low.
I did community theater and kids programs at professional theaters and plays at school and voice lessons for seven years. I stopped because it was so time-consuming. But then I realized that I had access to this world where I could go on auditions. And there wasn't too much of an identity crisis when I started acting professionally because I had been acting longer than I had been writing. It didn't feel new.
I'd taken, like, maybe some African dance classes a couple of times, but I wasn't a musical theater person at all.
I make it a habit of never trying to judge what an audience might think, only because all points of view are too close, because we're doing it every day, I think that the actor's point of view is sometimes too close to what the material actually is.
I produced and directed a movie a couple years ago that won some awards that Samuel Goldwyn released called 'The Last Good Time'. I wrote, produced and directed it, but I wasn't in it.
Jack Bender is a real actor's director. Because he was an actor, and because he directed theater, he really enjoys that process.
There is a gentle, but perfectly irresistible coercion in a habit of reading well directed, over the whole tenor of a man's character and conduct, which is not the less effectual because it works insensibly, and because it is really the last thing he dreams of.
I'm a playwright by trade, and in theater, writers have complete control over everything. Nobody can change a word without your permission. I've had a couple screenwriting experiences that weren't terrible, but they were typical, where executives came in and gave you sometimes good notes and sometimes horrible notes - but they wanted to change the movie that everybody had agreed to make. After a couple of times, it's like, "Why are we doing this?" The story is not going to turn out very good when 13 people are writing it together.
To make anything a habit, do it; to not make it a habit, do not do it; to unmake a habit, do something else in place of it.
Your god may be your little Christian habit - the habit of prayer or Bible reading at certain times of your day. Watch how your Father will upset your schedule if you begin to worship your habit instead of what the habit symbolizes. We say, 'I can't do that right now; this is my time alone with God.' No, this is your time alone with your habit.
The director, Moisés Kaufman, just received the national medal of the arts from President [Barack] Obama . He wrote and directed The Laramie Project and he has directed several Pulitzer prize-winning plays. He's a pretty profound director in the theater.
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