A Quote by Donna McKechnie
When I saw 'Chess' in London, I thought it was horrible. It was so static. People were coming down front and just facing the audience, singing.
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When I saw the Penderecki concert in London, in '92 or '93, I thought there were speakers in the room. It was just strings. But I could hear these kind of buzzings and rumblings, and I was like, 'Where is this all coming from?' And that was just better, to my ears. Odder, stranger, more magical.
Even as a child, I just leaned towards the scary. I remember seeing Halloween, for the first time. I snuck into the theater and was sitting there with a group of friends in the front row, and I turned back to look at the audience. They were screaming and interacting with the screen and were interacting with Jamie Lee Curtis as she walked through that horrible night. I just thought, "I want to do that."
I thought movies were handed down by God. I knew that theater was made by people because I saw the people in front of me, but movies seemed like they were delivered, wholly made, from Zeus's head or something.
'Crash' came from personal experience. I saw things inside me from living in L.A. that made me uncomfortable. I saw horrible things in people and saw terrible things in myself. I saw a black director completely humiliated, but the three people around me just thought it was funny. 'No,' I said, 'that is selling your soul.'
You can look at what's happened to America in the last years and say a lot of people were asleep. A lot of people were not staying awake and watching what was going on and facing the pain of that and dealing with it.I don't care if the rest of the audience doesn't think along those lines at all, because the audience is a huge spectrum of people, from people who are introspective to people who just want to be scared and have fun, and all the points in between.
I love chess, and I didn't invent Fischerandom chess to destroy chess. I invented Fischerandom chess to keep chess going. Because I consider the old chess is dying, it really is dead. A lot of people have come up with other rules of chess-type games, with 10x8 boards, new pieces, and all kinds of things. I'm really not interested in that. I want to keep the old chess flavor. I want to keep the old chess game. But just making a change so the starting positions are mixed, so it's not degenerated down to memorisation and prearrangement like it is today.
When a chess player looks at the board, he does not see a static mosaic, a 'still life', but a magnetic field of forces, charged with energy - as Faraday saw the stresses surrounding magnets and currents as curves in space; or as Van Gogh saw vortices in the skies of Provence.
Lollapalooza, that was one of my worst shows. We just played at, like, 3 in the afternoon; it was like the hottest, most miserable thing. My shoes were melting. I just thought I was going to die. It was the most horrible experience. I lasted, what, four songs? In front of quite a lot of people. That was one of my least favorites.
I've always believed that a good twist is one that, when it is presented to the audience, half of them say, 'I saw that coming.' And half of them are completely and totally shocked. Because if you don't have the half that saw it coming, then it wasn't fair: You never gave the audience a chance to guess it.
When I saw 'Breakfast at Tiffany's,' and Audrey Hepburn was standing in front of Tiffany's in this Givenchy dress, or when I saw 'All About Eve,' I thought that period was just fabulous. I mean, who would not want to walk down the stairs with their hands in their pockets, and say, 'Fasten your seat belts, it's going to be a bumpy ride.'
Gregory Peck was so charismatic. I saw a woman fall down - fall down! - when she saw him in a restaurant. And Brando. We were in London, and by then he was about 380 pounds. There was a gorgeous waitress, and off he went, in direct competition with me for this young girl's attention, speaking French, making her blush.
When my generation, those early days of television - I know I've been thinking about this lately - my two flashes of me as a little boy. One, I'm standing in front of the radio freaking out that Nat King Cole's singing 'Lady of Spain', just this stuff coming out of the radio, and Guy Williams singing 'Wild Horses' coming out of the radio.
I almost turned down '8 Mile.' I was due to start 'ER,' and I learned they really wanted me to be in '8 Mile.' I didn't know Eminem; I just knew he was a rapper and saw what everyone else saw in the media. I thought they were just trying to capitalize on his popularity.
I was jumping out of my skin. It was horrible. I was all over the place, because I'd never been in front of a live audience. That's a whole other element in the play, the audience.
I played Thersites and I remember we were also doing some places out of town before starting our run at The Old Vic in London and we were at the Yvonne Arnaud Theatre in Guildford and I walked on stage and I've got an opening speech that begins: "Agamemnon, how if he had boils?" And I went on and said: "Agamemnon..." And a woman in the front row just went 'tut'. I thought: "I've only done four syllables, give us a chance!" I got one word out and the audience were already tutting. It was worse than any heckle I ever had doing comedy. So, I'll stick to gnomes.
Once in a Moscow chess club I saw how two first-category players knocked pieces off the board as they were exchanged, so that the pieces fell onto the floor. It was as if they were playing skittles and not chess!
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