A Quote by Michael York
I happen to love working in cinema, but the theater is always there... you know, and I would never shut the door on it. Even though it's been quite a bit of time since I've done a play, last one was in New York.
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I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?
He looked resigned, as though he knew that wretched door--to where? Home? Heaven? Peace?--would never open, and at the same time he seemed resolved, ready to do his bit even though he couldn't possibly know what sacrifices that would require. Had he been kept here, too--in a place he didn't belong, serving in a war in which he hadn't enlisted, to rescue sparrows and soldiers and shopgirls and Shakespeare? To tip the balance?
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.
You never fall in love with anyone the same way you fell in love with someone else. It's always different, every time, if you're lucky-or cursed-enough to have it happen more than once. But I've never been uncertain about love, not any of the times I found myself in it. Love is always real, even when it doesn't last.
I really would rather have gone to New York, since all my training had been in theater, but I didn't have the guts to go there alone. I knew only one person in New York, and that was a man. What I needed was a woman. That's the way Southern girls thought.
I love the process of working on a play. I love rehearsal so much. New York can be so tough, but the community in the theater is so warm and glorious.
As a lover of New York, I hope New York remains as successful as a city, even though the very groups on whom the city depends - like artists - are not finding it easy to stay here. That's what it's been about, really, since the 1980s. You can kind of see that coming in the 1980s even though the rents were ridiculously low compared to what the rents are now.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
It wasn't until 2013 that I even started working in film. It was always something I wanted to do from six, but I didn't know how to get there other than working really hard and going to New York and doing theater like I saw on the bios of some of my favorite actors.
I have been to the theater more since I have lived in New York than I ever really did in London working on a television show.
If I was going for the popular vote I would've won easily. But I would've been in California and New York. I wouldn't have been in Maine. I wouldn't have been in Iowa. I wouldn't have been in Nebraska and all of those states that I had to win in order to win this. I would've been in New York, I would've been in California. I never even went there.
I lived in New York for seven years, although I was always in denial about it. Even though I had an apartment there, I always pretended I was just visiting. I do love New York. But I'm a Londoner at heart.
In L.A., it's so sunny out all the time that even though I'm working all day I have this illusion that I'm on some kind of vacation. New York is so condensed and exciting but you stay there too long and all that turns into anxiety a little bit. It's nice to escape here and there.
I was an emotional manipulator of fighters . . . You have to know how to be cold, you know? Just have no -emotions, no feelings. It takes time, though, to develop that. I'd been working on that since I was 12 years old. It doesn't happen overnight.
I've been blessed because every single role I've done has been an educated person. I've never done the stereotypical Latina, even though I have an accent - I've always been able to play educated people. That's a good thing!
I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.
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