A Quote by Rainn Wilson
I want to keel over on stage playing King Lear at age 99 or something like that.
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King Lear by William Shakespeare frightens me. I've never done King Lear, I guess partially because my father dwindled into dementia in his last years and King Lear is such an accurate portrayal of a father figure suffering from dementia - the play was almost intolerable for me.
When you're playing King Lear, you have to have a little humour, or you will have no tragedy when the king dies.
Any older actor knows the last great mountain to climb is to play King Lear and now, if I ever play Lear, I will have done the pre-preparation because I had to go into the play and read it over and over again.
I feel like I've been on EastEnders all my life and now I'm playing King Lear.
I guess if they ever do a remake of 'Sophie's Choice,' I could play the Meryl Streep part. I've got to work on my Polish accent. Maybe I'll be the definitive King Lear one day. You know, if they ever feel that King Lear should be more Jewy.
Some days it seems I've done as much as I can here and I think I'll go and try my luck in America. But then a call comes from the Globe theatre. They want me for King Lear, playing Edmund.
King Lear is undoubtedly the greatest play ever written by Shakespeare - or anybody else for that matter. Hamlet is certainly great, but it doesn't contain as many elements of humanity as we see in Lear.
I think you have to find the humanity in the character and then the deterioration is a part of the process - the journey of the character. It's like playing King Lear. You can start off as a nice old man who finishes up crazy.
I used to think 'King Lear' was an analysis of insanity, but I don't really think it is. When Lear is supposed to be at his most insane, he is actually understanding the world for the first time.
If you are playing King Lear you are the centre of attention anyway. You don't need to draw attention to yourself. It's all laid out for you.
I've never been that guy who says, 'Ooh, I have to play King Lear'. First off, that'd be a disaster anyway. I tend to read something and see who's involved, and then know I want to be part of it. But I don't think I'm through with comedy. I still love to make people laugh.
It isn't difficult to leave King Lear or Macbeth, but once you have gone back to yourself, you want it to be the same self you have always been.
'King Lear,' I've been seeing all my life. I mean, the great actors of my lifetime... to join their company, as it were, by playing a part that's challenged them, is one of the great joys of being an actor who does the classics.
Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage.
It's difficult for most people to imagine the creative process in tennis. Seemingly it's just an athletic matter of hitting the ball consistently well within the boundaries of the court. That analysis is just as specious as thinking that the difficulty in portraying King Lear on stage is learning all the lines.
I was in King Lear with Sir Tom Courtenay at The Royal Exchange in Manchester. In fact, that's where I met my husband. I was playing Regan and he was playing Cornwall and together we fell in love plucking out Gloucester's eyes. It was great fun. Everyone assumes that I was Cordelia because I've got blonde hair but I was Regan and they gave me a long auburn wig. It was great, good fun.
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