A Quote by Robert Webb

I was an usher at the Lyric Theatre Hammersmith. You had to watch whatever play they had on 40 times. — © Robert Webb
I was an usher at the Lyric Theatre Hammersmith. You had to watch whatever play they had on 40 times.
I was mad about the theatre growing up, really mad. We had a local theatre, the Torch, and I used to usher there. I would see the shows over and over again.
You had to have two VCRs, and you had to tape everything, and you had to make a choice - you either watch WWF or you watch WCW, or you watch one half of one show and the last half of the second show or whatever the case was back then.
I remember a time when I was younger, when if you had to see an actor, you had to go to the theatre and watch a film.
And then there were the wallflowers who had recognized for years that the thing was hopeless, who had found in that information a kind of calm. They no longer tried, with a bright and desperate effort, to sustain a conversation with somebody's brother, somebody's usher, somebody's roommate, somebody's roommate's usher's brother... The category of wallflower who had given up on all this was very quiet, not indifferent, only quiet. And she always brought a book.
For 8,000 years, we've had lyric poetry; for 400 years we've had the novel: theatre hands its meaning down in text. Let's find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.
Virtually all my conscious life I had been involved in theatre - I had been a child actor - but as a young man who had experienced the 1960s, British theatre seemed remote from my aspirations in life - theatre was still a posh thing, a middle-class thing, something for an elite.
I've had good times and I've had bad times and I reminisce, maybe when I lay down, but throughout my day I keep myself engulfed in whatever moment I'm in because it could steer me into a depressed state.
You look at the descriptions of Whitey by law enforcement during his early years, and they sum him up pretty well. He was the same guy 40 years later; he just had $40 million more, and had committed 40 more murders.
Honestly, I had a kid, so you watch the movies your kids want to watch. I'm also a producer, so when I watch movies, I look at them from the genre they are, the budget they had, and the time they had to produce it. That's how I evaluate their success.
I had my appendix removed in my 20s. I was in the middle of a play with Helen Mirren at the Royal Court Theatre, a fabulous career break. Then two weeks in I began suffering the most horrendous pain and had to pull out. Sadly, by the time I'd recovered, the show's run had ended.
I wouldn't just come home from school and watch TV everyday, they had me involved in lots of local theatre. I was a very dramatic, talkative child. And that was part of my mother's creative solution - to put me in workshops and classes and children's theatre programmes.
When I used to play nightclubs, you had to play Top 40 or favorite oldies that maybe people could relate to.
The days of holding the audience captive to watching television at times that programmers tell them they have to watch it are coming to an end. It's a new world, where the viewer and fan wants to watch whatever they want to watch, whenever they want to watch it.
I had such a tie with my eyes and my hands. I could look at a telephone pole 40 yards away, take out a 7-iron, and hit it 10 times in a row. I had something special. And somehow, I really understood the game, all without having a lot of guidance.
I had tried out for theatre school and didn't get it four times.
When I was 12 or 13, the hyphy movement was beginning to bubble. And you had local acts such as the Federation or E-40, Mac Dre, and Too Short that the local radio station would play all the time. You'd hear E-40 as much as you'd hear Jay Z.
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