A Quote by Laura Linney

I know that actors and actresses have a great reputation for being very, very selfish, and in some cases, that's very true. But in the theater I find it doesn't help you to be selfish. You sort of have to be selfless in the theater, and the more selfless you are - that doesn't mean don't take care of yourself - but the more you sort of surrender to the work, I find, the better the work is. That's just my experience.
It's very true that you can be both selfless and selfish at the same time. What we tend towards, particularly in filmmaking, is this binary sort of, 'This is a good guy, this is a bad guy.' And I quite like the fact that life is a bit more complex than that.
Great leaders have to know when to divide that line from being selfless to being selfish, and he perfectly chose the time to be selfish and made plays.
The belief that unhappiness is selfless and happiness is selfish is misguided. It's more selfless to act happy. It takes energy, generosity, and discipline to be unfailingly lighthearted.
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
It's a very selfish time. When I'm here at home, my responsibilities are far greater. I'm forced to be way more selfless. My priorities are so far down the list that it's hard to see them. And yet, when I'm on tour, I basically have to get the show right, every night, but the days are really constructed around selfish activities for self-improvement, or not. That's where I feel guilty because I know that life is going on full-speed when I'm not around.
Then, at age 20, I discovered theater sort of by accident. Quite quickly, theater became more important to me than music. I began to realize that maybe my talents as a musician were quite limited, or had a ceiling to them, whereas acting seemed to sort of stretch before me. I got very passionate about it very quickly.
We're contemptuous of 'distracted' working mothers. We're contemptuous of 'selfish' rich mothers. We're contemptuous of mothers who have no choice but to work, but also of mothers who don't need to work and still fail to fulfill an impossible ideal of selfless motherhood. You don't have to look very hard to see the common denominator.
The difference between working with actors that have put their time in the theater and just straight film and television actors is that you trust theater actors a lot more. You know that they're seriously more trained than anyone else because theater is the best place to grow as an actor.
We're brought up to believe in a fairytale-romance sort of way that true love is out there and true loves don't care about what you look like and stuff, just what's down inside. And that's probably true, but what's also true, sadly, is that true loves are very rare and very hard to find.
I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.
Just as blueprints don't necessarily specify blue buildings, selfish genes don't necessarily specify selfish organisms. As we shall see, sometimes the most selfish thing a gene can do is build a selfless brain. Genes are a play within a play, not the interior monologue of the players.
I think with comedy I get very sort of critical of myself and try and do the best I can and it doesn't come as second nature. I work at those kinds of films. It doesn't mean I can't do them - I've done two now, and I have a great time doing them, but I just find myself a little bit more neurotic.
I think theater is very much my natural home. But the truth is that the older I've got, and the more I've written film and television, I find it incredibly hard to write theater.
I had begun my professional career when I was 9 years old at the Cleveland Play House, and it was a very specific, real theater sort of like, you know, in England and the Berliner Ensemble - very devoted people. And I thought the theater was the greatest place I had ever been, and that's what I wanted to do.
I never once dreamed of sort of being able to be in an American TV series, you know? It was all about theater and touring and sort of being an actor around Scottish theater.
When you do television, you're filming out of sequence sometimes. You have to ground yourself very quickly in the character and in the work and in the words. I think theater allowed me that sort of sharp, quick focus to do that.
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