A Quote by Tom Stoppard

Somebody who likes to do my plays is a good director for them. — © Tom Stoppard
Somebody who likes to do my plays is a good director for them.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
When I was in casting, we would bring somebody in, have them read their lines, maybe give them a few pointers, and hire them, and then once they go to the set and you have a director who's directing them, that performance may not be anywhere near what you had in the audition, either good or bad.
I like somebody who's not so crazy but likes to have a good time... and who is thoughtful and kind and easy to laugh with. Somebody you can just be yourself with one hundred and fifty percent.
What you're trying to create is a certain kind of an indispensable presence, where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody's a friend, or somebody's being generous to you.
It's just that I don't want to be somebody's crush. If somebody likes me, I want them to like the real me, not what they think I am. And I don't want them to carry it around inside. I want them to show me, so I can feel it too.
All my life, I've had these flashbacks, these dreams, nightmares, daymares, like visions, where I relive certain plays. Only the bad plays. I see them over and over, as if somebody's rewinding a tape and forcing me to watch.
I'm just like every other girl who likes to shop, likes to look good, likes to spend time with friends.
I think it's OK if somebody likes my music and likes Sam Hunt's music, too. And I think if we're both selling records, it's good for everybody. I think it allows other records to get made.
Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.
Woody's [Allen] very relaxed with the cast and likes them to do their thing and is not an over-director type. Somehow it works.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
I just think that everybody likes good things. Everybody likes dogs, everybody likes to feel good and believe the best in people.
All of the advice that I give, I'm not an expert by any means, but it's just my opinion. So if somebody likes me or likes y style or my career, I think they should have that feeling.
I don't know what of our culture is going to survive, or if we survive. If you look at the Greek plays, they're really good. And there's just a handful of them. Well, how good would they be if there were 2,500 of them? But that's the future looking back at us. Anything you can think of, there's going to be millions of them. Just the sheer number of things will devalue them. I don't care whether it's art, literature, poetry or drama, whatever. The sheer volume of it will wash it out. I mean, if you had thousands of Greek plays to read, would they be that good? I don't think so.
The working-class is now issuing from its hiding-place to assert an Englishman's heaven-born privilege of doing as he likes, and is beginning to perplex us by marching where it likes, meeting where it likes, bawling what it likes, breaking what it likes.
I just make the pictures and where they fall is where they fall. If somebody likes them, that's always nice. And if they don't like them, then too bad.
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