A Quote by Toby Stephens
Places like the National Theatre or Sheffield, these great engines of theatre, make us cutting edge because they can be experimental. They can do plays that nobody else can afford to do in ways nobody else can afford to do.
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As far as leftists are concerned, nobody should have to pay more than anybody else. Nobody should make more than anybody else. Everything is supposed to be the same. It's the only way it's fair. It's the only way feelings don't get hurt. So when circumstances like that exist, they call that anti-competitive. Anti-competitive means they can't afford it.
I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
I'm not afraid to compete. It's just the opposite. Don't you see that? I'm afraid I will compete — that's what scares me. That's why I quit the Theatre Department. Just because I'm so horribly conditioned to accept everybody else's values, and just because I like applause and people to rave about me, doesn't make it right. I'm ashamed of it. I'm sick of it. I'm sick of not having the courage to be an absolute nobody. I'm sick of myself and everybody else that wants to make some kind of a splash.
Nobody else in the world can do what we can do. And nobody else is willing to do it for altruistic reasons. I mean, we don't go into places like Iraq to grab their oil or colonize their country. We go there to deliver, as George W. Bush said, the blessings of liberty.
Every one of us have things that we believe about ourselves when nobody else is looking, nobody else is listening, nobody else is monitoring what we're doing. We believe things about ourself.
When I started out, I was very vociferously against theatre or what I saw theatre as being, so I tried to make my plays the opposite of that - something a bit more cinematic. I'm a film kid, so I'll never have the same love of theatre as I do of movies. It's just the way I was brought up.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
In the theatre, once you've gone about eight rows back, everybody else is just listening to you. You're very small, and nobody can really see what you're doing.
Listen to 'Dream.' It's just me all the way. It's like raw. It's gutter. It's real. It's authentic. It ain't like nobody else. Don't sound like nobody else, no nothing.
I suppose what's so amazing about working at the National Theatre is that, because it's a subsidized theatre, you're not trying to create a product that's going to have a mass market in order to make the money back.
Every one of us have things that we believe about ourselves when nobody else is looking, nobody else is listening, nobody else is monitoring what we're doing. We believe things about ourselves.
Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make 'Get Out.' Nobody. Nobody wanted to make 'The Purge.' I think it was floating around for three years before it came to us. Nobody wanted to make 'The Gift,' when it was a script called 'Weirdo.'
When there is no desire to satisfy yourself, there is no aggression or speed... Because there is no rush to achieve, you can afford to relax. Because you can afford to relax, you can afford to keep company with yourself, you can afford to make love with yourself, to be friends with yourself.
I was always far more into anything creative that called for a bit of active participation, like reading aloud in class. Then, having left school shortly after my GCSEs, I auditioned for the National Youth Theatre of Wales and the National Youth Theatre of Great Britain as well as the Welsh National Youth Opera. I ended up getting into all three.
Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.
Whenever I'm in theatre situations I will go out of my way not to talk about my father, but in the film world I can be really proud of my family and say, 'You know what: my dad's a really, really famous theatre director,' because nobody has any idea.
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