A Quote by Robert Lepage
Theatre is different. We can spend two weeks around a table talking about subtext. In opera, there is a score, and people already know their parts. And they move differently. I find all this liberating.
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So when a good idea comes, you know, part of my job is to move it around, just see what different people think, get people talking about it, argue with people about it, get ideas moving among that group of 100 people, get different people together to explore different aspects of it quietly, and, you know – just explore things.
Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.
Diversity is not a skin thing, necessarily. Diversity is you have people around the table who have different backgrounds and different experiences and think differently.
Before I start directing a show, I try to spend a few weeks hanging around the set, getting to know the crew and talking to the actors about how they like to work. Who is fussy? Who is left-handed? Who wants to go home early, and who is the perfectionist?
I have this table in my new house. They put this table in without asking. It was some weird nouveau riche marble table, and I hated it. But it was literally so heavy that it took a crane to move it. We would try to set up different things around it, but it never really worked. I realized that table was my ego. No matter what you put around it, under it, no matter who photographed it, the douchebaggery would always come through.
You can't remember what movie you saw two weeks ago, but you can remember what Broadway show you saw two weeks ago and where you ate dinner - everything about it. There's something about live theatre that hits you in the heart.
We have a reputation here in the Pelican State for daring to be different. We live in parishes, not counties. We spend our holidays throwing beads at people lining the street. We cook differently. We speak differently - we spell differently. There is no place in the country that compares to Louisiana.
Theatre is all about the process and the sense of community that is created. You have weeks of rehearsal, time to explore your character and get to know the other actors. There is opportunity to try off-the-wall ideas, to find layers and nuance over weeks. You become like a second family with your cast.
Well you know, Woody doesn't rehearse, as opposed to my own method of directing where I really work with actors around a round table for weeks, examining the values of the material, so his technique is very different.
This is what a family is all about - one another, sitting around the table at night. And it's very, very important, I think, for the kid to spend time not only around the table eating with their parents, but in the kitchen.
I just want different parts; I wanna be that guy who people mention and they don't know who you're talking about until you say a few movies they've been in and then people are amazed that it's the same person.
I've spent a lot of time in my political life talking about why it matters to have women in the decision making, whether it's at the family table, whether it's in a board room, whether it's in the halls of Congress, whether it's in your community meeting. And it has to do with the fact that women's lives are different. You know? They're not better or worse than men's, but they are different and we bring that different perspective to whatever we do. And it's important to have that perspective at the table.
I can make 10 jackets of the same colour, same two pockets and same length, that will look like 10 completely different jackets when you put them on. It's about the way they are cut - it makes them look and feel completely different and move differently, and that's a never-ending study. People who wear my clothes will know exactly what I mean.
I think there are two sides of the coin. On one hand, it can be challenging to access different parts of yourself, and you kind of have to put yourself back into reality when you're done with the job. But I think it's also really cool to have the ability to try on being different people and to explore some parts of yourself because you get to know yourself better. You get to know parts of yourself that you haven't met before. I think that's something that I've been learning more recently.
Particularly with the plays I choose, they're good parts, and they're parts that have been around long before a bad actor played them, and will be around long after I play them. Part of what I enjoy about the theatre and acting is that sense of history.
The basic thing is to be humble, and pretend you're a bartender in the tavern of life. Don't get too comfortable and don't really listen to anybody else. Don't stand around with a bunch of writers and talk about writing. You know when you see plumbers at a plumbers convention, usually they're not talking about plumbing: they're talking about whatever it is that two men happen to talk about. They're talking about sports, their wives and children. I just tell my students, don't talk about writing too much, just go out and do it. Find out whatever you need to get to the mainland.
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