A Quote by David Carradine

Born to play? Hmmm. Probably Romeo... or Hamlet, I guess. Also, I'd be a great Alexander the Great. — © David Carradine
Born to play? Hmmm. Probably Romeo... or Hamlet, I guess. Also, I'd be a great Alexander the Great.
'Born to play? Hmmm. Probably Romeo... or Hamlet, I guess. Also, I'd be a great Alexander the Great.
You're only great if you win. I mean, Alexander wasn't Alexander the Mediocre or Alexander the Average. He was Alexander the Great, and there's a reason for it.
If you actually saw your favorite movie star who is also a great classical actor doing 'Romeo and Juliet,' 'Macbeth' or 'Taming of the Shrew,' it would be a great thing and a great thing for kids to get interested in language.
Perhaps because my background is theatrical, I have a great affinity with the classics. Hamlet has always been a character of great interest to me and a character I would really love to play. Or a character in a Tennessee Williams play, maybe Tom in 'The Glass Menagerie.'
Doing Shakespeare in the Park has always been a dream. Everyone else says Hamlet, but I want to play Romeo.
Suddenly, this romantic agony was enriched by a less romantic one: I had to go to the bathroom. Needless to say, I couldn't let her know about this urge, for great lovers never did such things. The answer to "Romeo Romeo, wherefore art thou, Romeo?" was not "In the men's room, Julie.
I'm sure that the average person thought we would fold up right there. That's all everyone thinks we're about, anyway. Alexander, Alexander, Alexander. But it's about the brotherhood. Shaun's a great player, but we have a lot of weapons around here.
Not only do you need great lyrics, a great message, a great story, great vocals, great chords... you also need great instrumentation, great editing, great sonics, great mixing, and great mastering. It all comes together to make something truly great, and I think each element combines together to create a powerful impact on the consumer.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
I saw Derek Jacobi play Hamlet when I was 17, and he directed me as Hamlet when I was 27, and I directed him as Claudius in 'Hamlet' when I was 35, and I'm hoping we meet again in some other production of Hamlet before we both toddle off.
Something is always born of excess: great art was born of great terror, great loneliness, great inhibitions, instabilities, and it always balances them.
The tragedy of "Hamlet" is critically considered to be the masterpiece of dramatic poetry; and the tragedy of "Hamlet" is also, according to the testimony of every sort of manager, the play of all others which can invariably be depended on to fill a theater.
I write songs to handle emotional pain. I guess what they say is true: with every heartache comes a great song. I also pray and have great friends.
I'd not really ever expected to play anything like 'Hamlet.' I hadn't seen myself as a natural Hamlet, whatever a natural Hamlet is, and I quickly realised there is no such thing.
A captured pirate was brought before Alexander the Great. “How dare you molest the sea?” asked Alexander. “How dare you molest the whole world?” the pirate replied, and continued: “Because I do it with a little ship only, I am called a thief; you, doing it with a great navy, are called an emperor.
When you are at the right age to play Hamlet you are still to young and immature to play it. It is much later, when you get the life experience and the emotional power, that you understand Hamlet or Macbeth.
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