A Quote by Thomas Flatman
Sit the comedy out, and that done, when the Play's at an end, let the Curtain fall down.
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It's all a play. Hiroshima and Nagasaki happen, there are hundreds of thousands of dead, and the curtain comes down, and that's the end of that. Then Korea happens. Vietnam happens, all that happened in Latin America happens. And every now and then, this curtain comes down and history begins anew. New moralities and new indignations are manufactured...in a disappeared history.
Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.
I would say I've actually done a lot more comedy than I've done drama. It's weird the way that worked out, because when I came out of theater school I took myself way too seriously, so it's kind of ironic that I ended up sort of going down the comedy path.
There are a lot of great jokes you can sit down and write, but that's just a written joke, versus the comedy of the situation. Ideally, you're pulling as much comedy out of the situation as you can.
What we really have to do is take a day and sit down and think. The world is not going to end or fall apart. Jobs won't be lost. Kids will not run crazy in one day. Lovers won't stop speaking to you. Husbands and wives are not going to disappear. Just take that one day and think. Don't read. Don't write. No television, no radio, no distractions. Sit down and think. . . . Go sit in a church, or in the park, or take a long walk and think. Call it a healing day.
You come in off the street, through the doors of the theater. You sit down. The lights go down and the curtain goes up. And you're in another world
You come in off the street, through the doors of the theater. You sit down. The lights go down and the curtain goes up. And you're in another world.
Out- out are the lights- out all! And, over each quivering form, The curtain, a funeral pall, Comes down with the rush of a storm, While the angels, all pallid and wan, Uprising, unveiling, affirm That the play is the tragedy, "Man," And its hero the Conqueror Worm.
I don't worship comedy; at the end of the day, I don't fall to the altar of comedy unquestioningly.
Approaching a comedy character is fun because you get to sit down with the director and ask, "What makes you laugh?" Then you end up bouncing ideas off each other.
On Saturday afternoons when all the things are done in the house and there's no real work to be done, I play Bach and Chopin and turn it up real loudly and get a good bottle of chardonnay and sit out on my deck and look out at the garden.
There's always advantages and disadvantages to doing any role. And there's a great sense of achievement, testosterone, fun, being able to live out your masculinity when you play an action role, or an action-adventure, or a real tough-guy role. Really, if you're doing a comedy, you can sit back and relax. And it's good to know that at the end of the day, you don't have to run off for another two hours and go to the gym, or go spend the rest of the night swordplaying with stunt guys. Then I think, "Oh my God, I love comedy.".
If you decide to do comedy that involves risk, risk means risk, and you can't complain of flesh wounds if you sit down at the table to play.
I remember someone said to me, "Never stand up when you can sit down, never sit down when you can lie down, never lie down when you can be asleep." Those are bits of advice that I haven't taken, really. I've done the opposite of them, but they have stayed with me.
Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.
A couple years ago, I felt like I was in a dead end, and I kept asking myself, "How do you get out of a dead end?" People would say the answer is, "You just turn around." But that was not the answer that I was going to accept. I realized, for me, that getting out of a dead end was literally the world turning upside down, and I had to fall out of the dead end. So you have to surrender, so I've really learned how to surrender, practice unconditional love. With my art, I've always put out things I love.
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