A Quote by Roger Rees
'Merry Wives of Windsor' is a wonderful machine. It's one of the great farces, and it's astonishing to remember that this is written by the same man who wrote 'Hamlet,' 'The Taming of the Shrew' or 'Cymbeline.' It's so similar, and yet the form is so different.
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It took a while to decide I wanted to do Hamlet. It wasn't that I was daunted - I'd been acting professionally since my mid-20s and had some pretty big Shakespearean roles under my belt by that stage, at 32: Petruchio in 'The Taming of the Shrew,' Edgar in 'King Lear,' Antony, Richard III. But when it came to Hamlet, I hesitated.
Truthfully speaking, women are dangerous, even those who aren't feminists, because there has always been a women's revolt. Only it has usually translated itself into solitary, individualist, disagreeable manifestations - the whole history of the taming of the shrew, the woman-shrew. They weren't shrews without cause.
I worked at The Old Globe Theater under the great baton of Craig Noel. One of the great theater heroes that we have. He was so great and so inspirational. I think I did 'Antony and Cleopatra' and 'The Taming of the Shrew'. I lived in Ocean Beach, and my rent was $140 a month.
If you actually saw your favorite movie star who is also a great classical actor doing 'Romeo and Juliet,' 'Macbeth' or 'Taming of the Shrew,' it would be a great thing and a great thing for kids to get interested in language.
Science had married the wilderness and was taming the savage shrew.
When I did Taming of the Shrew, I was very tired, and I decided to have a holiday and make a documentary.
If it really was Queen Elizabeth who demanded to see Falstaff in a comedy, then she showed herself a very perceptive critic. But even in The Merry Wives of Windsor, Falstaff has not and could not have found his true home because Shakespeare was only a poet. For that he was to wait nearly two hundred years till Verdi wrote his last opera. Falstaff is not the only case of a character whose true home is the world of music; others are Tristan, Isolde and Don Giovanni.
'The Taming Of The Shrew' is probably the first time I've worked in this country for about ten years, apart from theatre, and it's not for want of trying. It was so fantastic to work in London - it felt really glamorous.
The Long, Long Trailer (1954) actually happened and the man wrote a book about it. Father of the Bride, same thing; a banker wrote that who had never written anything else.
Merry Christmas, movie house! Merry Christmas, Emporium! Merry Christmas, you wonderful old Building and Loan!
What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote.
I love my dad. There is no doubt about that. He is a wonderful man and a good person. Like many father/son relationships, we have our struggles, our misunderstandings, and our miscommunications. We are very different people, but also very similar at the same time.
Restless' was something totally different, and I couldn't use the same material. 'Man Vs. Machine' is scientific. It's broken down in a whole different way.
I have the vanity to think that every play I have written is different from the previous ones. Yet, even though they are written in a different way, they all deal with the same themes, the same preoccupations. 'Exit the King' is also 'The Bald Soprano.'
It's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.
In truth, one cannot, it seems, oppose mechanism and finalism, one cannot oppose mechanism and anthropomorphism, for if the functioning of a machine is explained by relations of pure causality, the construction of a machine can be understood neither without purpose nor without man. A machine is made by man and for man, with a view toward certain ends to be obtained, in the form of effects to be produced.
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