A Quote by John Huston
I don't approve of censorship. I like the French theatre idea. Put on the play, and if the audience doesn't care for it, or feels offended by it, they rip up the seats.
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I think there's this idea that if we put up a play with all African-Americans or all Latinas, or even if we mix it up, then it won't really sell to a mainstream audience. At the end of the day, what's going to drive the story being told is what's going to drive people to the seats.
There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counter-balance: the freedom of the press to say that there's anything conceivably damaging in these films - the freedom to analyze their implications. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?
I'm not sure I approve of theatre as a university course. I think theatre's something you do. I mean, literature is a subject; theatre is practical.
The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
I think a lot of audience members don't realize the part that they play in live theatre. The audience actually has a mood. Sometimes they're tired and bored, and we have to wake them up and engage them.
It always bothers me to see people writing RIP when a person dies. It just feels so insincere and like a cop out. To me, RIP is the microwave dinner of posthumous honours.
Having done film, TV and theatre, the nicest final bit of the jigsaw is to do live comedy, because you can talk to the audience. It feels really natural to be able to laugh with them, but at the same time still be within the framework of a play.
I don't like to play above or below people's heads. Basically, I just like to get up in front of a crowd and rip it up.
Ha! Kids! You have no idea what you put your parents through, either. Wait till you have your own, you'll see. That's when you'll know what it really feels like." .. "What what feels like?"..."Love," said Angela.
I'd be a liar if I said I didn't care what people think, but I would rather have less people who like or approve of me for who I really am than a bunch more people who like or approve me for what I'm not.
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.
In eighth grade, when I was just the school weirdo, my drama teacher put me in a play, and we came up with a few comedy bits. And that very first reaction, for an audience of supportive middle schoolers, I put my head out and pretended I got scared by the audience, and ducked back in. They all went: 'Yeah! That's great!'
I love when people laugh. I love when they cry, I like a story to say something, and I hope the audience feels happier leaving the theatre than when it came in.
I love theatre because of the audience. It feels risky. But I love film because it travels to the whole world. To an audience I don't see.
When people discuss his plays, he says that he feels like he's standing at customs watching an official ransack his luggage. He cheerfully declares responsibility for a play about two people, and suddenly the officer is finding all manner of exotic contraband like the nature of God and identity, and while he can't deny that they're there, he can't for the life of him remember putting them there. In the end, a play is not the product of an idea; an idea is the product of a play.
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