A Quote by Charlotte Rae

I always like to do serious plays. — © Charlotte Rae
I always like to do serious plays.
Laurence Olivier said in an interview once that when he plays a tragedy he always aims for the funny parts, and the other way around. Because in a comedy you look for what's serious. I think that's true. Sometimes things are really funny if you're absolutely earnest. If you're really serious, it's hilarious.
Subliminally, I had always wanted to act. Although I had only performed in a couple of plays, I was serious about it and was subsequently trained by people like Lee Strasberg and Elia Kazan.
My dad has actually really influenced me musically. I have a weird love for '80s and '90s music. A lot of people are like, 'Are you serious? It's so lame.' But my dad always plays that in the car whenever we're together.
I think people are always really surprised when they realise I'm not a very serious person and that I'm not tremendously serious about acting. I don't like to rehearse; I hate improv. Directors that don't like to talk, they're my favourite ones.
I always loved theater and acting in plays and directing, writing little plays and directing friends in plays.
Eric Clapton was such a great player. He sounds like he's Freddie King or someone like that. He plays the roots of blues and Delta blues. He really affected me with the way that he plays, because he never really plays that many notes.
There's always plays that Coach Reid just draws up every single week. I always say that they always work. He just gets on the board in his room and just starts drawing plays. The possibilities are endless.
I'd like to be in a position to have plays run through me and share the ball, make plays. Still score, obviously, but make plays, as well.
I'm not a serious photographer like many of my contemporaries. That is to say, I am serious about not being serious.
Poetry died as a commercial form and then it died as a serious art form. No one serious touches it. It used to be that somebody like F. Scott Fitzgerald could make a high middle-class income from working as a short story writer for the Saturday Evening Post and other outlets. That doesn't happen anymore. It used to be that a legitimate playwright could make a living on Broadway from writing decent plays.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
I always did plays, and when I went to NYU - and I didn't go to Tisch, the theater school, because I was like, 'Well, acting's not realistic. You can't make a career out of it.' So I just studied general studies and humanities at NYU, but I was doing plays while I was there. So I was sort of cheating.
Peter Keating: "Do you always have to have a purpose? Do you always have to be so damn serious? Can't you ever do things without reason, just like everybody else? You're so serious, so old. Everything's important with you. Everything's great, significant in some way, every minute, even when you keep still. Can't you ever be comfortable-and unimportant?" | Howard Roark: "No."
I always try to be ironistic in everything I do. I love people who understand humor and who live through humor. So, of course, I was not too serious covering such things as Motörhead or "Black Magic Woman" by Santana. But I was serious enough about Led Zeppelin and the Celtic song "Wild Mountain Thyme." In my life, serious and humor are always together.
People say that I am always serious and depressing, but it seems to me that the English are never serious - they are flippant, complacent, ineffable, but never serious, which is sometimes maddening.
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