A Quote by Max Irons
I want to keep working. I want to step away from young adult fiction. I want to do theater periodically - Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
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I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.
I just want to keep writing characters who are interesting and complicated people and interesting roles for women, in TV or film or in theater. I think that's like my 'Blues Brothers' mission.
What's great about New York is that there are a lot of theater actors and actresses, who are trained actors, that they bring onto the show. They're so talented, in such a weird, quirky and ominous way. And it's great to be able to work with new faces, too.
The difference between working with actors that have put their time in the theater and just straight film and television actors is that you trust theater actors a lot more. You know that they're seriously more trained than anyone else because theater is the best place to grow as an actor.
I come from the theater, and I've done a lot of character work in the theater, but Hollywood stuff in film and TV, they've been more leading lady/ingenue type roles.
I looked at theater, in the sense that theater is unmanipulated. If I want to pay more attention to one character on stage than another, I can. I think there's not enough theater in film and not enough film in theater, in a way.
There are so many talented people in film today. There seem to be poor scripts, but the actors and actresses are very talented.
I went to theater school in France, and when I finished I thought I would never go back to acting again. I don't want to be acting in theater. It's not for me. I'm sick of all this theater world, all these actors, and all that.
In my experience in series TV, if you have a good crew and a great cast, it's going to be a great group - similar to the theater where it's a bunch of people who are really talented and go to work each day and challenge each other, and if you are lucky enough to get a hit then it's five or six or seven years of this kind of work.
In my experience in series TV if you have a good crew and a great cast it's going to be a great group - similar to the theater where it's a bunch of people who are really talented and go to work each day and challenge each other and if you are lucky enough to get a hit then it's five or six or seven years of this kind of work.
I was fortunate enough to make it to where I want to be. There could be other kids as talented or more talented than me in whatever they want to be but don't have the resources to pursue their dream. Maybe they have to get a job instead to help their mom with the bills.
Know your lines; otherwise, have an open mind because you want to get lost in the moment. When you have talented actors and directors to work with, then it's pretty easy to do.
Sometimes, to ensure that a talented individual will work for you, or will stay working with you, you need to be flexible. Money is not always the great motivator here. Talented people want a good salary, of course, but surprisingly often they are more attracted to new opportunities and challenges.
I want the type of career where I can come back to theater. Theater is my home. Theater, to me, is like ballet for dancers. It's my foundation.
If you want to change something by Tuesday, theater is no good. Journalism is what does that. But, if you want to just alter the chemistry of the moral matrix, then theater has a longer half-life.
I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.
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