A Quote by Gary Oldman

Shakespeare doesn't really write subtext, you play the subtext. — © Gary Oldman
Shakespeare doesn't really write subtext, you play the subtext.
With Shakespeare, there's no subtext; you're speaking exactly what you're thinking constantly.
I think the benefit of being a writer is that I'm looking for the subtext on the page, because all good writing has subtext. And as a writer, you look at the big scope of things, the big story, rather than just your individual story line, because I think it's important to know what you're in and how you fit into it.
For me really good acting is about subtext.
I like to really know what every scene is about, what the text is, what the subtext is. Then I figure out how to express that when I'm shooting.
I am not one of those actors who dwells on the histrionics and the subtext and future text of the character. I deal with the scenes that I'm doing at that specific time, because if I do that, they play in more of a real way.
I try and make non-fiction films that feel like fiction, so I'm always looking for the subtext and that's what really excites me.
There's no subtext in Harry Potter really; it's all magic, anything can happen. Why do I say this? Because it's a magic spell. It's quite nice in a way. There is a real freedom to it.
Phone calls like ours only happen when you've spent several years hurting and being hurt, until every work you utter or hear becomes coded and loaded, as complicated and full of subtext as a bleak and brilliant play.
It was like hiking into a Hemingway story; everything was sepia-toned and bristling with subtext.
I haven't made art about Israel. There's a covert subtext of Jewish identity in my artwork.
As a director, I like trying to unlock the subtext of the scene and try to put the camera in a place that helps that.
I think I am more attracted to characters with a subtext, whatever that is and they don't necessarily have to be virtuous, but they have to at least be human.
You have to watch out with my plays. They're like yeast. You think they're one thing, then all of a sudden subtext gets to working.
'Ocean's Kingdom' is a fairy story with no subtext, no resonance - it's not about anything except its water-logged plot.
There's no subtext in 'Harry Potter,' really; it's all magic - anything can happen. Why do I say this? Because it's a magic spell. It's quite nice in a way. There is a real freedom to it. Doesn't say much for acting, does it?
With Bound, we wanted to pull at conventions, because you begin to wonder, Why do these stereotypes exist? Where do they come from? You use that as the subtext.
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