A Quote by George Ogilvie

An actor and a [theatre] director are both what I would call interpreters of work. We interpret a work, just as a musician will interpret a composer's work, we interpret the work of a playwright. We are servants of the theatre and I've always believed that. We must serve what has been written, that's what we're there for.
A sober, devout man will interpret 'God's will' soberly and devoutly. A fanatic, with bloodshot mind, will interpret 'God's will' fanatically. Men of extreme, illogical views will interpret 'God's will' in eccentric fashion. Kindly, charitable, generous men will interpret 'God's will' according to their character.
With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.
A judge must interpret statutes as written. And a judge must interpret the Constitution as written, informed by history and tradition and precedent.
As a working actor, all I want to do is work. That's it. It's terrifying when you don't work. It's very hard when you don't work. There have been times when I've been out of work for like six months. I feel theatre to me is like manna.
One cannot use the life to interpret the work. But One can use the work to interpret the life.
When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
Theatre is an actor's medium though behind the stage there is a playwright, director and perhaps in some, a music composer too, yet the actor is the one who ultimately tells the story to the viewers.
I will always choose to work in a movie based on whether I would want to watch it - if I would be willing to spend money in a theatre on it. The script and the people you will work with come after that.
Don't be too quick to interpret the moment. Just keep quiet. My encouragement would always be: never think anything is against you, everything is blessing. Why should it be different? Just be quiet. Let it all work itself out.
I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.
I like to interpret 'Call me a River', as if I'm saying, 'Now you're telling me you love me after all that, and I'm telling you to shove off.' That's my interpretation. But I would never 'say' that because somebody else might interpret the song in another way.
It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.
I think I work much the same way I always have. I'm trying to interpret something emotionally visually. I'm reading the brief or article, or listening to the music, and deciding where that sends me, and what would it look like.
We not only interpret the character of events... we may also interpret our interpretations.
We need to interpret interpretations more than to interpret things.
What is needed desperately today is prophetic insight. Scholars can interpret the past; it takes prophets to interpret the present.
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