A Quote by John Tiffany
Theatre is a living organism. You only know if your show is working when you see it with an audience. You can also tell when it isn't working - it's horrible, and you desperately try to figure out how to make it connect.
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Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.
If you wrote a crummy line or maybe didn't sing to the best of your ability, there's layers of 10 different instruments all working to convey something. In writing prose for the memoir, if it's not working, it's just not working. It's harder to figure out how to fix it.
I want to get a handle on the music. There's only so much you can do alone. I want everyone else there. I can't wait until we feel we've got it down and we can really figure out what it's all about! I can't wait to meet Harvey Keitel, too! I'm so used to working with musical theatre people... I'm really curious how he works. He's the only one that doesn't sing in the show - he acts and weaves himself through the show as the ring-master. I hope I learn something from him.
I watch films, so I know what it is to be there in a theatre as the audience. So I always want to communicate with them when I make films, but that is not the only thing. I also want to say something which I feel deeply, and which I feel I can connect with the rest of the audience.
I like working on the house, small carpentry stuff. I also like working on the van. That's about as quiet as my mind gets, I think. I always loved working on the How's Your News? TV show and at Camp Jabberwocky too.
If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.
In theatre, you've got to make the connect with your audience in the first three minutes. If you haven't, you know you've almost lost them.
Theatre is so much fun because you do theatre and you have a month of working it out on your own, and then a month of rehearsal, so by the time you get to stage I know where I'm failing and I know where I'm succeeding and your boundaries are pretty concrete.
This is my work ethic: I do not want to raise my future kids where I was raised, and I know the only way to do it is working, working, working, working, working.
Only in the theatre was it possible to see the performers and to be warmed by their personal charm, to respond to their efforts and to feel their response to the applause and appreciative laughter of the audience. It had an intimate quality; audience and actors conspired to make a little oasis of happiness and mirth within the walls of the theatre. Try as we will, we cannot be intimate with a shadow on a screen, nor a voice from a box.
I try desperately to try and figure out how they'd react to different scenarios. That's part of what the DM's job is: to try and know their players well enough to where they can build encounters, challenges, and be like, 'I think they would do this in this scenario, so I will go ahead and prepare a few options based on this.'
I've been working, working, working, and you know, sometimes you look back at your work and you see that it just isn't any good.
Don't buy society’s definition of success. Because it’s not working for anyone. It’s not working for women, it's not working for men, it's not working for polar bears, it's not working for the cicadas that are apparently about to emerge and swarm us. It’s only truly working for those who make pharmaceuticals for stress, sleeplessness and high blood pressure.
I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled
The theatre for me is much more satisfying as an actor because you are working in front of a living, breathing, throbbing, gasping, laughing and hopefully applauding audience. And the immediate connection you get with that audience is very satisfying.
Sure, I'd love to be on primetime, but if I'm blessed enough to be picked up by another soap, thank God! It's so hard out there. And when you're not working, you feel horrible. You don't know when you'll get the next job. You don't know how long the soap genre will be around. I want to help keep these shows on the air and keep everybody working!
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