A Quote by Tim Pigott-Smith

When you're in a good play and a good production, you find that you're in something that has a life beyond you. You think, 'Oh my goodness, this play's alive.' — © Tim Pigott-Smith
When you're in a good play and a good production, you find that you're in something that has a life beyond you. You think, 'Oh my goodness, this play's alive.'
If it's a good play, don't get too high. Make a good play, follow it up, and then if it's a bad play, if there's a mistake or there's something wrong, don't worry about it.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
We don’t have to do a bunch of things to figure out how to win the Ryder Cup. Just go play golf. ... I’m a little bit too casual probably about a lot of things, but you can’t force good play. Good play comes from good hard work and actually being prepared to play, not being forced to play.
Sacred space and sacred time and something joyous to do is all we need. Almost anything then becomes a continuous and increasing joy. What you have to do, you do with play. I think a good way to conceive of sacred space is as a playground. If what you're doing seems like play, you are in it. But you can't play with my toys, you have to have your own. Your life should have yielded some. Older people play with life experiences and realizations or with thoughts they like to entertain. In my case, I have books I like to read that don't lead anywhere.
First, you have to play good football so that you get to play for a good team. Then, hopefully, you achieve such a level that you are invited to play for your national side, in time for a World Cup if possible. Then, obviously, play a good World Cup. That's my dream.
How can you go wrong with two people in love? If a good boy loves a good girl, good. If a good boy loves another good boy, good. And if a good girl loves the goodness in good boys and good girls, then all you have is more goodness, and goodness has nothing to do with sexual orientation.
If I play a villain, I try to find his lightness and his good side. And if I play a hero or a good guy, I'll try to find his darkness or his flaws. Because I don't believe in good and evil. I believe in grays.
A play should give you something to think about. When I see a play and understand it the first time, then I know it can't be much good.
It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
I thought if I can do something more playful and light like my play BEYOND THERAPY, it might be a money maker. I think one of the reasons BEYOND THERAPY has legs - it's been very successful for me around the country - is because it's a friendly play, rather sunny.
Good or bad day, or good play or bad play, or whatever it is. You have a chance to get back up and begin again, It's something that's really stuck with me.
I find it's very confusing when one critic tells you one thing and one tells you something completely different. Unless all the critics agree on parts of the play that just didn't work. I have stopped reading reviews, because I find writing is all about courage. You must have courage when you start writing a play and you cannot have the voice - you must write things out. You cannot have the voice of a critic telling you, "That didn't work in that play, you cannot make it work in another play." Every time you do a production, it's an experimentation.
Baseball people think they can find athletes with good bodies and teach them to play baseball. What's wrong with giving someone who already knows how to play baseball a chance? I think I fall into that category.
When you have something good... When you have something good, you don't play with it! You don't take chances with it! You don't take risks with it! When you got something good, you get every single thing you can get out of it! Because guess what? When you take care of something good, that something good takes care of you.
A good play is a play which when acted upon the boards make an audience interested and pleased. A play that fails in this is a bad play.
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