A Quote by Diane Lane
When I was about seven, I started touring the globe as part of New York's La MaMa theater company - without my parents!
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I spend the majority of my time in New York and LA. I feel like a large part of my following and my fans are probably in New York and LA because of the work that I do is very New York-LA-centric. So people do recognize me. But it's nothing overwhelming at all.
I started in theater. I did theater professionally for seven years with my company before I started doing 'Friends.' I was waiting tables and doing theater.
I did children's theater when I was younger, and then when I was about 14 I started doing theater in New York City.
I'm an improviser. I came up doing improv at the U.C.B. Theater in New York for seven years. That's where I started, so improv is what I love.
My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.
Now the Gielgud Theater is a very famous old theater, because it was originally called the Globe, and the Globe is where my mother made her very first professional appearance in London, was at the Globe Theater.
New York and LA are both great places to visit, but I wouldn't want to live in either of them now. I find New York extremely claustrophobic and dirty. LA is quite a nice place. But there's no hustle and bustle, no street life.
I started in theater; I did theater in New York for 14 years before I even thought about doing movies - I never thought about being in a film; it just never occurred to me.
I moved to LA and decided to do films and television, mainly because the theater in New York is totally dead.
I wanted to be an actor ever since I was five. My grandparents - my mom's parents in New York - were stage actors. I think indirectly I wanted to do it because of them. My grandfather would tell me stories about Tennessee Williams and actors he worked with in New York. He had such a respect for acting and such a love for storytelling about that world. I grew up hearing him tell tales of it.They were never encouraging me or discouraging me to take part. They were always feeding me with theater.
New York City revived around the team. I don't think you can look at the recovery of New York from the 1970s without, on some level, talking about Steinbrenner. Even if you're just talking about the feel of the city, he was part of a creation of a new sense of optimism.
I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?
I've always wanted to do theater in Chicago. Chicago is a big theater town-and, in some ways, I think this city is savvier and smarter than New York. Sometimes, I think it's a little too chic to go to theater in New York these days.
The New York Times is the greatest media company around, arguably, and the people at the New York Times know a lot more about making a giant successful media company than I do.
I started working in New York City as an actor and did many plays. I did regional theater, smaller theaters, children's theater.
I love playing live, but our tours generally last about a year. I could never do this without the understanding and support of my wife. She's also a guitar player, and we knew each other before Dream Theater started touring.
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