A Quote by Jennifer Ehle
The Old Vic is a beautiful theater to work in. It's quite a large house, but it has a feeling of intimacy.
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The thing is this: I've got an amazing career in England that couldn't possibly get much better. I do the best theater around, I work at the National Theater, the Old Vic - which I'm sure you've heard of because it's the one Kevin Spacey runs - and I play the most amazing roles and work with the most amazing directors.
An obsession that I've developed in my old age, is great architecture. I bought a house in New Orleans and I became quite enamored of the architecture there. It began there. I travel a lot or my work, so now, wherever I go, I wasn't to find the most beautiful church, the most beautiful museums. Anything ancient.
Sometimes you lose your way; you walk in the twilight of a forest; and suddenly you see an old but a beautiful house. And that old mossy house is a good quotation! It is old because it has wisdom; it is beautiful because it gives you a hope!
Whether that's positive or not, people are talking about the Old Vic Theater again with passion and commitment and controversy and debate.
Whether thats positive or not, people are talking about the Old Vic Theater again with passion and commitment and controversy and debate.
I played the Piccadilly Theater with "Gypsy" and also the Old Vic, and I've done other shows in London, but not for 40 years.
Marriage is a way to avoid intimacy. It is a trick to create a formal relationship. Intimacy is informal. If a marriage arises out of intimacy it is beautiful but if you are hoping that intimacy will arise out of marriage, you are hoping in vain. Of course, I know that many people, millions of people, have settled for marriage rather than for intimacy - because intimacy is growth and it is painful.
I made a conscious decision after I did 'The Duchess of Malfi' at the Old Vic in 2012, when my daughter was six months old, to try doing more screen work.
I stayed a year in the sixth form and there was talk of Cambridge, but I wanted to go to drama school. At 17 and three months I went to the Old Vic School in London. This most remarkable and brilliant drama school lasted only six years because the Old Vic Theatre hadn't the money to go on funding it.
I'd always loved the theater, and I began by writing plays. I work in the theater a lot in the UK, and I've worked in the theater out here quite a bit. Everything else - the films - followed as a consequence of that.
I never wanted to go to the Old Vic and not have it survive long after I was gone. It's not about me; it's about that theater. And the more that it's able to grow and do everything it should do without me, then I've done my job.
I certainly identify with the role of mentor and, to some degree, maybe teacher. I do a lot of work with kids at the Old Vic.
I got a grant for the Old Vic Theatre School in London, which had just started. It was only five terms; they used to break you down and never quite put you together again but it was an excellent training.
I thought that my movie career was finished. I was quite happy to dedicate myself 100% to the theater. Surprisingly enough, I've never gotten so many work offers. It's so exciting, this feeling of a new beginning after 40.
I got a job right out of drama school as assistant stage manager at the Bristol Old Vic. I've been lucky enough to stay in work ever since.
For more than twenty years by my own work and personal initiative, I have gathered from all the old streets of Vieux Paris photographic plates, 18 x 24 format, artistic documents of the beautiful civil architecture of the 16th to the 19th century: the old hôtels, historic or curious houses, beautiful facades, beautiful doors, beautiful woodwork, door knockers, old fountains This vast artistic and documentary collection is today complete. I can truthfully say that I possess all of Vieux Paris.
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