A Quote by David Morse

My first summer at a repertory theater, I was making $20 a week. I was making a living, as far as I was concerned, and I was doing theater. And next season, I made $40 a week. But I don't think anyone in my family would have considered that making a living.
The beauty of making theater is that you have to go and do it the next day. Making a show nightly is a really difficult skill. It's something every theater actor and every theater maker is challenged with.
I'm a kid that went to theater school. I thought I was going to be making my living doing plays regionally or in New York or on Broadway, and maybe if I got lucky I would do a movie here or there.
Why should I complain about making $700 a week playing a maid? If I didn't, I'd be making $7 a week being one.
If actors could actually make a living doing theater, that would be my first choice. Sitcoms are the closest thing to being onstage in front of an audience. If I had to choose, it would be theater and doing the occasional movie once in a while, and spending time doing nothing.
I remember being interested in theater when I was in school, but I wasn't always engaged in making it a career. I was a cheerleader in Texas, but I tore my ACL, so I was out for the rest of the season. That's when I started putting more of my passion into theater.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
It isn't called TV money for nothing. There was a time where I paid my rent by doing theater for years, and I was able to buy groceries and pay my electric bill. I considered myself to be making a living as an actor. This kind of money that we make is a whole other level, of course. But it really is simply the cherry on top of a job and a role that I adore.
There's not a business or a master plan as far as I'm concerned. I take it week by week, and I don't think you ever expect to be able to do the next thing.
I have been writing since I was about 20, and at first I wrote in secret and never showed anybody. I was very concerned about making a living, so I conducted.
I thought I was going to be a theater actor. I moved to New York after college and did some plays and worked a lot. Once the realities of living as a theatrical actor hit me, I realized I wanted to start making a little bit of money and not have to bartend and work in theater.
I just always wanted a platform. In the past, I always dreamed of having a following and a fan base - you know, a group of people just listening and paying attention to what I was making. I think the reality kicked in that you have to make a living so that you have enough time to keep creating, you know? 'Cause if you're not making a living at this, then you're making a living working another job, and if you're working another job, you're spending all your time doing that and can't put enough time into the music.
I started, obviously, doing theater, and I always thought that I would; in a way, I always thought that I'd be a theater actor. When I was starting out, I didn't really plan on making films, actually.
My first job at Gleason's Bar in Cleveland was $800 a week, when I was making $92 a week with overtime at the automobile plant.
There are musicians who want to make a living making music. There are listeners who want to listen to music. Complicating this relationship is a whole bunch of history: some of the music I want to listen to was made a while ago in a different economy. Some of the models of making a living making music are no longer valid but persist.
The thing about how that process works is that it's more about the editing and time for judging the ideas. Most pieces I publish each week have been around for months. This is a response to the beginning of the strip, when I was making them so quickly. I would just conceive a piece, finish it, and then the next day see it in the paper. That was when I was doing dailies four days a week.
I've always made a clear distinction between making a life and making a living.
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