A Quote by Kevin Spacey

A couple of clues came my way of what I might be getting myself into when I sat down with a number of actors who had played Richard III in the past. And I was hoping of course, that one of them or all of them were gonna give me the magic key, the secret way in to play Richard III but none of them did that.But every one of them did say the following, "Be careful."
If you're a classical actor, every Shakespearean part you play, you then say, 'McKellen did it this way,' and, 'Jacobi did it this way.' There's a whole list of Oliviers and people, whether you play Hamlet or Richard II or Richard III, any of those roles. And I found that a bit when I did 'La Cage.' It didn't bother me one bit.
I went to a Jesuit school and they did a William Shakespeare play every year. I got to know Shakespeare as parts I wanted to play. I missed out on playing Ophelia - it was an all-boys school. The younger boys used to play the girls, I played Lady Anne in Richard III and Lady Macbeth, then Richard II and Malvolio. I just became a complete Shakespeare nut, really.
Francis Underwood was entirely based on Richard III. When Michael Dobbs wrote 'House of Cards' in the original British series, Richard III is what he based the character on.
Shakespeare villains were extraordinary. Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.
Usually, you can figure out where a person's mistakes came from if you ask them the genesis of their thought process: 'Why did you do it this way?' As opposed to telling them they did it the wrong way. Understanding their thought process will ultimately help you be able to communicate with them and navigate around them.
Our founders did not oust George III in order for us to crown Richard I.
I've played almost every lead character from Henry VI to Othello. I'm dying to tackle Richard III sometime.
I've obviously used fans - I wouldn't say all my life, because we couldn't afford them when I was young, but from my 20s and onwards we've had to use fans. And I've always loathed them. Everything about them. The way you adjust them, getting them at the angle you want. Carrying them. Cleaning them. The danger of putting your finger in them.
Theater will cast in a more open way; Denzel Washington might play Richard III. Television and film don't really cast openly like that. The theater world has always been a leader in diversity.
I think it's a very legitimate aspect of American life to criticize and to disagree and to debate. But I want to say I think it's a lie to say that the president lied to the American people. I sat on the Robb-Silverman Commission. I saw many, many analysts that came before that committee. I asked every one of them-I said, 'Did-were you ever pressured politically or any other way to change your analysis of the situation as you saw?' Every one of them said no.
He had to keep thinking of them because if he forgot them and did not think of them they might forget about him. And he had to keep hoping.
I would love to play Richard III.
I loved them all the way one loves at any age -- if it's real at all -- obsessively, painfully, with wild exultation, with guilt, with conflict; I wrote poems to and about them, I put them into novels (disguised of course); I brooded upon why they were as they were, so often maddening don't you know? I wrote them ridiculous letters. I lived with their faces. I knew their every gesture by heart. I stalked them like wild animals. I studied them as if they were maps of the world -- and in a way I suppose they were.
Richard III is not likeable. Macbeth is not likeable. Hamlet is not likeable. And yet you can't take your eyes off them. I'm far more interested in that than I am in any sort of likeability.
There are some things I cannot do as I did before the accident. Trying to do them the same way was impossible, and I was getting frustrated. Then one day I said to myself that I had to relearn those things and do them in a different way and see what was possible, and how it could be achieved.
If you give the actors a problem 'I'm not getting something out of the scene' and it's the writing, we just don't have the scene, if you give them the problem and just give them some key thoughts they can bring some great solutions to the equation too. So if it's just not perfect, or I'm not getting all I can, I'll open it up to them and say let's talk about it.
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