A Quote by Cillian Murphy
I guess because theater's so ephemeral and it's gone. You make this nightly contract with the audience and you redraw that contract for the next night, whereas film and television, it's forever. I suppose it's always about adopting personas, never about being yourself. I think they call it a "shy man's revenge."
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If I didn't have the wrestling name that I have, I wouldn't have gotten the financial contract that I got with Strikeforce or the long-term contract or the television contract. That's all because of wrestling.
I'm not willing to sign a contract. They want everything. They want the rights to do the movie and everything else they can think of, forever. There's no limit to the contract. In this universe and universes to be discovered - I'm not making this up - this is in the contract.
If I deserve a new contract, the contract will come. I'm not a selfish guy, I want the team to keep winning games, I don't go crazy about my contract.
So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.
The exercise in theater is night after night you are doing the same play, but you have another opportunity to explore. It changes nightly even because of the audience and your day going into the evening of the performance. With film it's much more controlled.
A contract for the establishment of government, being nothing but a voluntary contract between individuals for their mutual benefit, differs, in nothing that is essential to its validity, from any other contract between man and man, or between nation and nation.
If you mess up the performance on stage, you do it again the next night. You're like alright, you let yourself off the hook, and you've got to go back in there. Whereas, with a film, I would go home and be like, "Well, I've ruined the arc of the character forever. That scene is never going to work. I know because I can never shoot it again." So, it's all miserable, but in different ways.
I want to earn a contract. I don't want a contract because in the next year I'm a free agent, so they might look to tie me down.
I always think that the difference between film and theater is like the difference between masturbation and making love. Because, in film, you just have to get one moment right; you're practically by yourself. And in theater, you actually have to have a relationship with the audience.
Yeah, the first contract I signed, that was the first time I realized, Oh man, never mind, I don't want to do this anymore, but it was too late. I realized it was a bad thing because I wanted to try out for 'American Idol' and all these different things couldn't do that because I was in this contract.
If two individuals enter into a contract to commit trespass, theft, robbery or murder upon a third, the contract is unlawful and void, simply because it is a contract to violate natural justice, or men's natural rights.
So I called and said, 'Mommy, I'm doing a political film with Jean-Luc Godard. You have to come and sign the contract.' She thought I was lying, so she hung up the phone. But then she came the next day, even though she had never taken an airplane in her life. She came to Paris and she signed my contract.
If I go into a relationship with an artist, which at most is going to last five years, we have a 100-page contract covering every eventuality. Whereas with marriage you go into it with no contract, with laws that date back hundreds of years, and I don't think that's right.
What I did sign was a tentative contract with Impact Wrestling when they were still Impact. That contract had a clause for me, because I was already working on some stuff in other areas of television. That clause basically said that if something else in television were to happen for me, they can't be uncooperative.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
Being on a film set is like being in tech forever. In theater, when you finally finish rehearsing, you go onstage and you do the lights and the sets and you make the machine of the production work. It takes usually about ten days in the theater, two or three weeks if it's a really big musical. I mean, it's hell on earth. You just sit around forever while they adjust the lights. And every playwright with half a brain runs for the hills when tech starts because it's so boring, and you don't want to talk to the director because the director is running this giant machine.
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