A Quote by Edward Hall

We have cut the text, but what remains are Shakespeare's words. — © Edward Hall
We have cut the text, but what remains are Shakespeare's words.

Quote Author

If you're going to do Shakespeare, do Shakespeare. There's a reason why he's been performed for hundreds of years. His words affect people on a very deep level. He's the true humanist. That all comes through his text, his words.
There are no witches. The witch text remains; only the practice has changed. Hell fire is gone, but the text remains. Infant damnation is gone, but the text remains. More than two hundred death penalties are gone from the law books, but the texts that authorized them remain.
An extraordinary and controversial interpretation of Shakespeare's origins, which certainly provokes much thought. A radical analysis of Shakespeare's text, leading to a conclusion which is bound to amaze the reader and the scholar. Who was Shakespeare?
Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.
Because I was writing verse, my instructor suggested I study Shakespeare. The Shakespeare teacher insisted you couldn't understand the text without seeing it on its feet.
Shakespeare is one of the reasons I've stayed an actor. Sometimes I spend full days doing Shakespeare by myself, just for the joy of reading it, saying those words... I do Shakespeare when I am feeling a certain way.
A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. A text remains, moreover, forever imperceptible. Its laws and rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.
The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.
The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
Some people study a text very deeply. The people are my text. I study their words and what their words sound like, over and over again.
A good writer gets better only by learning to cut, to remove the ornamental, the descriptive, the narrative, and especially the deeply felt and meaningful. What remains? The story remains.
I never spent less than two years on the text of one of my picture books, even though each of them is approximately 380 words long. Only when the text is finished ... do I begin the pictures.
The President had every reason to believe that the text presented to him was sound... These 16 words should never have been included in the text written for the president.
In many ways, 'William Shakespeare's Star Wars' is modeled on Shakespeare's Henry V, which relied on a chorus to explain in words the battles of Harfleur and Agincourt that could never be captured on the Elizabethan stage.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
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