A Quote by Robert Downey Sr.

When I got out of the Army, I started writing the usual 'Catcher in the Rye' imitations, and then I wrote something that was done Off-Off Broadway in a theater. It was called 'What Else Is There?' and it was four or five people playing missiles in a silo waiting to take off.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
After I left Yale, we were all doing these mad plays off - off Broadway. And I got back to that feeling I had from college, of everyone making up in front of one cracked mirror, which is what I loved - the scrappy theater idea. I think off-off Broadway healed me, made me an actor again, and I was in so many different crazy shows.
I started in theatre when I was 13 or 14 years old and did a lot of theatre until my early thirties. Off-Broadway stuff - off-off-off-off-Broadway stuff - and I do love it.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I'm concerned, is in New York the pride of New York theater.
I've been working very hard off-off-off-off-off-off-off Broadway and doing little films and really sweating my butt off in tiny little black boxes.
What I do is work for three or four years and then I take a year off, and then I come back again and work for three or four years and then take another year off. It is not about just working and then writing for a year. That is not how it is structured. It is about doing very conscious goal-driven activities for four years and then taking a year off in complete surrender to discover facets of myself that I don't know exist and exploring interests with no commercial value associated with them at all.
When I got out of school, I just started doing plays of the off-off-Broadway route, and for many years, that's what I did, slowly doing work in tiny theaters, building relationships with people in the business. It's not a showy story.
I thought my first few jobs would just be off, off, off, off, off broadway. And by chance and how the world works, I ended up on a TV show instead.
I spent a lot of time in the trenches in New York doing a lot of off-off-off Broadway theater.
Some bruises you wear like badges of honour: when you got it playing rugby, or quad racing, or falling off something while drunk, no opportunity is lost to show off a good contusion. A bruise inflicted by someone else, however, is a whole other story: it's like a big flashing arrow marking you out as punchable, and before long there'll be boys queuing up to add bruises of their own, as if they'd just been waiting for somebody to show them it could be done.
I had something to prove and went in the studio and started writing. I got into fitness and style and learned the whole craft. That was when I wrote everything on the album. I put out 'Don't Ya,' and it took off.
I never intended to go to Broadway. I was very happy being in an Off Broadway theater and having an Off Broadway life. What it did to me is try to fit a round peg - that's me - into a whole bunch of square buildings. I just didn't fit.
The greatly anticipated 2009 Masters was like going to a Broadway hit and finding out that the star, Sir Tiger Woods, was off that night, and his replacement was the cab driver who dropped you off at the theater.
I started off in theater; I did exclusively theater for four or five years. In the last few years, television has come along but I can still make film. I feel very privileged that I can move between them.
Until I got 'Full Metal Jacket,' I was doing Off-Off-Broadway plays with three people in the audience.
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