A Quote by Bryan Batt
You know, I think I was always intrigued by theater since I was a small child.
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I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.
I remember going to a theater once, and there was a stairway that wound its way out to the back. And I was very young, a small child, and I said to my mom, 'Why are those people going up those stairs?' And she said, 'You know, I don't know how to tell you this, I don't know how to explain it, but it won't always be that way, because it's wrong.'
I have always wanted to act ever since I was a small child. But at that time, it was just an idea.
As I'm traveling around, I meet many small children. And when I look at a small and think how we've harmed this beautiful planet since I was that age, I feel a kind of desperation, anger, shame. I don't know what I feel; I just don't know what the emotion is.
As a child, I was always intrigued by the question: what is it that distinguishes a city from a town? Is it size? Population? Location? When I asked grown-ups, the confident answer was that a city has to have a cathedral - which, to a child raised in a devout Catholic setting, made sense.
Oh, gosh, I have always been a huge fan of horror since I was a child. I know this is going to sound really weird, but I think it started with fairy tales.
I've loved fairytales, folklore and mythology since I was a small child, and I think it was inevitable that they would influence my style and my development of stories.
It's always a struggle with small films to get people in the theater. I think I have a perverse contrarian streak that's always kind of aspired to make movies that are impossible to market.
Ever since I was a child, I was fascinated by show business, the theater.
I've loved musical theater ever since I was a kid. My mother's a pianist, and my grandfather was an amateur theater director and stand-up comic. And I was an only child. And I loved attention. So from an early age, my family was teaching old musical songs.
I'd always gone to the theater as a child every month to see whatever was on. I think that's where the passion for it came from.
Since I was a small child, I was always writing either poems or plays... plays in which I had the starring part.
I think the Sixties in some ways is a barrier to young people today. They think of it, you know, what we're doing is not that. But it's partly the myth of the Sixties. It always felt embattled and small. It always, almost always, was a small group of people relative to the opposition around.
The condition of the theater is always an accurate measure of the cultural health of a nation. A play always exists in the present tense (if it is a valuable one), and its music -- its special noise -- is always contemporary. The most valuable function of the theater as an art form is to tell us who we are, and the health of the theater is determined by how much of that we want to know.
I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.
I have always wanted to work in the theater. I've always felt the glamour of being backstage and that excitement, but I've never actually done it - not since I was in 5th grade, really. But I've had many plays in my films. I feel like maybe theater is a part of my movie work.
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