A Quote by Jason Robert Brown
My work is very popular with performers, and there are theatre people who get what I'm doing and what tradition I'm working in. I'm very grateful to them - they're my people, who understand why I work the way I do.
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All drama teachers are very effusive, very emotionally open, very big, and gesticulate a lot, and are very physical. Those people don't work in banks and they don't work for pharmaceutical companies. They teach drama, or they may be theatre directors. That's why I love people who are openly gay in theatre, because they have license to do what they like, and there's a kind of artistic liberal tolerance thing that goes on.
Being and working in America, it's very important to work hard, work smart and work in a certain way. France and Europe has, with the tradition and culture, it's slow-moving and it's not always good.
I'm very grateful for the people that I work with, because I don't get to choose them.
I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them. It's not just about admiration for their films, it's how they deal with you, and whether they get you or the way you work. If they don't, you better adjust your way of working to suit them. I want to work with people who are good at what they do, and people who are passionate. As you get older, you suffer fools less easily. That's why there's all those cranky character actors. I'm an exception. I'm a sweetheart.
In the future, the idea would be to create work for myself, as a way to work up into my 80s if nothing else. But also, I want to cast my friends in things or people I saw who weren't working and I'd be like, 'Why aren't you working, I don't understand - I'll write you a role in something.'
A manager's most important work is helping the people doing the work. Give them a goal and let them work. Remove any impediments that get in their way. Do anything that make them more effective or productive. Then the organization can capitalize on the fruits of their work.
When you work in front of the people, either in a film or in television, the people who are in the room with you are not watching you work, they're working so you'd have to light a fire to get them to watch what you were doing.
It's always a surprise to me when someone comes up to me and appreciates my work. I have a very limited body of work, so I feel very lucky to have gathered such an audience. I'm very thankful to them. I'm extremely grateful to them for showing such love.
The interactions I have are with people who are very kind and very grateful and they say very overwhelming things to me. Somebody who doesn't like what I do or doesn't understand it, then it wasn't for them.
What matters is how well we do in trying to make people's lives better. That's why I'm doing this. That's why I work the way that I work. And that's why I love what I'm doing so much.
We don't understand what photography is doing. We don't understand the power of its rhetoric. We don't understand why the Provoke photographers showed Tokyo city as a ghastly and alien city when it was really going through this period of mega-capitalist growth. It's a very, very, very powerful force, the photograph. People ask me why it has such an ability to captivate us. And I just don't know.
Actors very often are people who think it's always about 'me,' and I can see why! No one else is going to support you or say, 'Gosh, I'm sorry about that,' or, 'Here, let me give you a job.' It doesn't happen that way. You can see why performers get very self-absorbed.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
I don't view the fans in the way that most performers do. As a mass of people who have paid money, I know what they want. It's a very, very, very, very, very low common denominator.
I am very conscious on a daily basis of how extraordinarily blessed I am to get to do what I do and work with the people that I work with, so I make a practice of being grateful.
It makes me so angry when people say, "We never hear from people who are happy doing sex work." Well, that's because they're working. The activism privileges people who hated doing sex work, are no longer doing it, and have a job at a social service organization, for example, that trains them on how to speak to the media. We are hearing from those people quite a bit.
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