A Quote by Michael Ritchie
I went into this job to do plays, but that's here for 10 weeks, and the rest of the year I do a lot of other things-the administrative work of planning, reading plays.
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I work constantly but I work at a lot of different things. You know, I run a theater company in New York, I direct plays, act in plays, in movies, so I try to keep it eclectic.
When I was a kid I really liked the guitarist of The Doors [Robby Krieger]. He plays blues, but he plays a lot of melodic things. He plays scales that are kind of unusual, and some bent notes.
I guess we all feel like underdogs. I remember being a freshman at Brown University and not knowing what a WASP was. We were reading an Edward Albee play, and - it was just a moment of accepting, certainly that I wasn't very worldly, but also that a lot of the plays that I'd been reading, let's say other kinds of family plays, were speaking a foreign language.
I fell in love with acting, just going to a lot of plays. My parents went to a lot of plays, and I went to a lot of schools that would get plays for kids.
Lectures broke into one's day and were clearly a terrible waste of time, necessary no doubt if you were reading law or medicine or some other vocational subject, but in the case of English, the natural thing to do was talk a lot, listen to music, drink coffee and wine, read books, and go to plays, perhaps be in plays.
I used to go with my parents and loved it, I was in school plays, and I started reading plays before I started reading novels. I'll defend it to the hilt. When theatre is good it is fabulous.
The greatest joy I get is setting up plays for somebody else. I take a lot of pride in helping other people make plays.
Rookie year you get out there and want to make as many plays as possible, then second year you want to be perfect, and then you kind of find a combination between the two - making a lot of plays and trying to be as perfect as possible.
It's my job to get us in good plays, or more importantly, out of bad plays.
It's my job to get us in good plays, or more importantly, out of bad plays. That's what I did.
I write plays, and I have a musical that's starting to get produced now. That's what I would love to do, but it's so hard. The only reason people are reading my plays and musicals is because I'm in movies.
You run your plays, you know your plays, you study your plays, you study the other team, you do as much as you can, you go to practice, you get in shape, you do what you need to do, and then by the time you get to the game, you know your plays, but they have to feel like they're in your bones. That has to be an unconscious thing, it cannot be conscious. That is everything to me.
You can say what you want about Carlos Tevez, but when he plays, he plays to win, and he plays for his team-mates.
I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.
My family is all musicians - my dad plays drums, my mom plays flute, my older brother plays drums, my little brother plays drums and piano. For some reason, I didn't get the memo, so I just play bass.
I admit, I do a lot of projects, but it's because I'm in a position now where I'm reading a lot more scripts and plays and things, and I'm really listening to offers and trying to think what I want to do at any given time.
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