A Quote by David Morse
I had almost no money, but with the little bit I had, I got a ticket to see 'That Championship Season' at the Booth theater.
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I remember once I went to go see a movie, and in front of me in line there was a little boy who looked so eager to see it, like it was Christmas morning. When he got to the ticket booth it turned out there was only one ticket left; the manager was there and wanted to give it to me instead since I was famous. That's when I knew I'd hit it big.
My understanding is that it's quite difficult for actors in the theater to know anybody but actors in the theater. It's the whole concept of the amniotic fluid surrounding one industry, holding people in place. I've never had a season ticket. I'm always a tourist.
So we [with Chris Ellis] did [Fresh Hell], and we did the first five episodes as a lark, just to see if anybody would respond or be interested, and we got enough feedback that was positive that we thought, "Let's keep going with this and see if we can flesh it out a bit this season." We've had 10 episodes, and they've been longer and a little more complete.
When I owned the theater, I had the Glen Miller Orchestra. I had 20 girls singing and dancing. I had a cast of characters. It was a big group production, as well as ushers, ticket takers.
AMDA was intense. I realized when I got there that I had to play a little bit of catchup. A lot of these kids knew so much about musical theater.
I've been through the ups and downs and had a lot of different things go on. But the one thing I believe is that when fans bought a ticket to see me fight, they got their money's worth every time. I never cheated them. I gave them what they came to see.
I do regret that when I went to college, I didn't have a liberal arts education. I got a BFA in musical theater, so it was a very directed toward what I was doing. I wish that I had expanded my horizons a little bit.
I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.
You know, when we were kids, we had to go to a theater to see a movie. And then television came in and you had to wait until midnight to see the one you wanted to see. Now, all you've got to do is go to a store and buy it and you can watch it whenever you want!
Spending all my remaining money on a ticket to Florence was rendered needlessly complicated by the fact that none of the ticket-sellers had ever heard of the place. At last their supervisor showed up and set them straight by informing them that the city they had always referred to as 'Firenze' was in reality called Florence.
We don't have problems. We have some protesters. Every once in a while, somebody will stand up. Today, we had a little more than normal in St. Louis in the morning. We had a number of people standing up. And it was fine. Nobody got hurt. But you know, they had to get taken out. And they're disruptive, and we do the best we can to do a little creative - have a little bit of fun with them.
Just beyond the ticket booth Father had painted on a wall in bright red letters the question: DO YOU KNOW WHICH IS THE MOST DANGEROUS ANIMAL IN THE ZOO? An arrow pointed to a small curtain. There were so many eager, curious hands that pulled at the curtain that we had to replace it regularly. Behind it was a mirror.
I never had the help of money in the background - it could be the cherry on the top a little bit - whereas some others had that to offer.
'21' was the place, and you went down, and they opened the door. They had a little slit they'd look through, and then you'd murmur the password or whatever it was you had, showed a little ticket, and if they remembered who you were, you went in.
I don't hate the music, but I hate the process. When I look at it, I don't see song titles and artwork, I see the fight - I see the emotions, the blood, sweat and tears. There are a couple of songs on there that I love; but 'Lasers' is a little bit of what you love, a little bit of what you like, and a lot of what you had to do.
I really wanted to go to a city and get involved in a theater scene and a theater community. I had some friends who had moved out to Chicago and had said really good things about it and about the work. I didn't care at that time about making money.
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