A Quote by Edward Hall

Oh, come off it, I've only directed three plays for the RSC. — © Edward Hall
Oh, come off it, I've only directed three plays for the RSC.

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Fifteen years ago I walked out of a production of one of my plays at the RSC because I decided it was a waste of time.
Until I got 'Full Metal Jacket,' I was doing Off-Off-Broadway plays with three people in the audience.
It is my plan to lead the RSC as a member-driven organization which puts forth positions developed through member participation and dialogue consistent with the RSC's mission and the U.S. Constitution.
And what? Accidentally cuts off three fingers postmortem? 'Oops, oh, no, my girlfriend just died! Clumsy me, in trying to perform CPR, I chopped off some fingers! Guess I'll just take them with me.... Oh, darn, where did that middle finger go?
I've always viewed 'Sons of the Prophet' as the first part of a larger trilogy - not three plays dependent on each other but three stand-alone plays connected by theme and, likely, further adventures of the Douaihy family.
Most of my career has been spent with the RSC doing Shakespeare, and the thing you learn from Shakespeare is that his historical plays don't bear anything other than a basic resemblance to history.
The director, Moisés Kaufman, just received the national medal of the arts from President [Barack] Obama . He wrote and directed The Laramie Project and he has directed several Pulitzer prize-winning plays. He's a pretty profound director in the theater.
You think about when I went to Miami. I played as a freshman, I go in and compete to be a starter, I tear my ACL. Come back, I start, I get off to a good couple of games and I get hurt again. You hear everybody saying, 'Oh, he's done.' I get drafted in the third round. People still said I got drafted too high, saying I'll only play three years.
Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."
In Europe, it is not so unusual for directors to move between opera, theatre, and film, and I have at least three girlfriends I can think of who have directed in all three genres.
One of the problems with 'SNL' is that, if you tried to adlib, the director would put you off camera and off the mic, so only you would know that you ever did it. The director always directed to the script; he wasn't listening to what you were doing. He was calling shots whilst looking at the page.
It was really an experience, being my first time directing a movie. The scenes that I was in, Brooke really directed me all the time. And the scenes that both of us were in, Brooke directed those. Come to think of it, Brooke directed most of the scenes.
I thought, can you think of any really good reason not to do it? Except that, oh, I'm so shy, or oh, my private life, or oh, are they going to find out how boring I am? You know? And that was the only reason now, in a sense, not to do television. Because it certainly is a method of expression, which has to be accepted as these things come along.
Rent Control was an interesting movie. It was directed by... I had done a couple of plays off Broadway, and this Italian director came, his name was Gian Luigi Polidoro, and he determined I was the person to play the lead in his low-budget comedy. He'd won an award at the Venice Film Festival, and... He was, y'know, a skilled director.
Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'
One fine day I discovered that more complex plays really have to be directed.
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