A Quote by Theresa Rebeck

I had such a good experience doing 'The Understudy' with the Roundabout, and people were really enthusiastic about the work. — © Theresa Rebeck
I had such a good experience doing 'The Understudy' with the Roundabout, and people were really enthusiastic about the work.
Obviously, there's a big homage to Outland in Moon. I obviously had Ridley Scott's response, which was great. But Peter Hyams really loved Moon and was really enthusiastic about it. He was also enthusiastic about the fact we'd remembered Outland and had remembered it fondly. I think, for him, it was like some kind of edification that there were people out there who loved his film. So, that was a really lovely feeling.
I was the understudy to the understudy in a year-two production of 'Big Chief Red Feather.' The boy who had the lead broke his arm, and then the understudy got chicken pox. And I loved it. I got to wear the most feathers in my headdress.
One of the things that struck me as unique about Hollywood is that I never had bad meetings. There were all enthusiastic, but meaninglessly enthusiastic.
The Tories in England had long imagined that they were enthusiastic about the monarchy, the church and beauties of the old English Constitution, until the day of danger wrung from them the confession that they are enthusiastic only about rent.
People feel good about doing things with you if you're enthusiastic.
Knowing that we were doing good work and the stories were good. They were original and charming. They weren't particularly violent or sexy or any of that. They were just unique and that had a good feel to it.
The great thing about writing for a younger audience is that they will give it to you straight with their responses. They'll tell you exactly what they liked and didn't like, and when they're enthusiastic, they're unashamedly enthusiastic. They'll talk to you about your characters as if they were real people, which is wonderful.
I had a bad experience doing public speaking at school. I had to talk about a pen for five minutes and it was really hard work. I couldn't wait to get off the stage.
Little by little, when I was doing auditions in New York, I discovered I was good. People there were enthusiastic.
That's what is was to be young - to be enthusiastic rather than envious about the good work other people could do.
No person who is enthusiastic about his work has anything to fear from life. All the opportunities in the world are waiting to be grasped by people who are in love with what they're doing.
The Yale group was doing the Harold. So by our senior year we were trying to do the Harold. Again, we had no idea what we were doing. We had one guy in the group who was pretty experimental; he would kind of push us to do weird things. It was really fun, a great experience.
I was 23, and I was in L.A. while on hiatus [as an understudy] from Biloxi Blues on Broadway. The guy that I'd been studying with had been fired for horsing around on stage with Matthew Broderick, and they were really anxious to get me back into the play. So I was in a great situation, and at the time, I definitely wasn't thinking about television
I'd rather have people who are enthusiastic about what I'm doing than like, "Well, I thought we were going to a Miley Cyrus concert and now it's a strip show!"
We stayed there 24 hours a day. We lived and ate and slept that movie. We were enthusiastic, not just because of the movie, but because we had such a great collaborative team. We had a really good time. It was very much a family.
When I first got to L.A., I was stretching $20 a week, waiting tables, and I did that for about six months. I didn't mind it at all, I was really happy for that experience, but it made me really get aggressive about what I want. I've been doing this since I was eight, and never considered doing anything else, so I really had to kick it into gear.
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