A Quote by Amy Hoggart

I normally feel relief that I didn't die onstage or forget all my lines. Then I start remembering that I have to do it again sometime, and it'll probably not go as well.
I will say that, I, being a Jew, experience unease before I go onstage; and after I go onstage, and in general. But luckily the forty-five minutes to an hour that I'm onstage I usually forget everything else and I just press play.
When we look at the flowers, we suddenly forget so many important things. We forget that all flowers die. We forget that winter will come again. We forget that nothing really endures and that, like the flowers that die at the end of the growing season, we'll join them in the cold ground.
I want to feel lucky every night when I go onstage, and not feel like, 'Oh, great, here we go again.
The only thing I know that makes me feel comfortable is to know as much as I can. Not like what the shots are going to be, but knowing enough about my character that I can forget those things. And more specifically, my lines. I have to know my lines. I have to know something really well, so I can forget it when we're doing it. And there is comfort in knowing, "Okay, there's not another stone that I could have overturned."
We're all going to die sometime, so you might as well die pushing the odds for something that matters.
The stressful thing about being an actor is, like, you have to kind of audition again and again and again, you know? You go in one time, and you go in again for a director and then again for producers and then again and again and again.
I feel really good, then I start to practice, and then I think maybe in a couple of months I can come back and I really believe it. Then I do a bit too much and wake up one morning not feeling well again.
Trying to forget really doesn't work. In fact, it's pretty much the same as remembering. But I tried to forget anyway, and to ignore the fact that I was remembering you all the time.
I buried myself so much in the classics that I felt, "Well now, I've played all the big parts, whether badly or goodly, I don't give a damn, but at least I've played them all. Now, let's start again. Let's start the whole career again." And it makes you feel like you're beginning again, it really does.
When you prepare for something, you can then play around; you're not as worried about remembering your lines because you already know them so well. That's where you can find the freedom. So I'm all about prep work.
At parties, I'll start talking and notice everyone is looking at me and feel dumb and say, 'Forget it,' and then start eating things.
You can't drink on an eight hour flight, pass out, and then go onstage... well you can, but then you're Spandau Ballet.
You have to learn it all, then forget it and start again like a child. This is the inner evolution.
I'm normally late, so I just kind of throw on the sort of thing that's at hand. And then I'll go through phases of wearing the same thing again and again and again. My wardrobe is mainly about black and white, so it goes together. I'll play with certain elements, but it's - I don't really think too much about it.
I'm normally late, so I just kind of throw on the sort of thing that's at hand. And then I'll go through phases of wearing the same thing again and again and again - and my wardrobe is mainly about black and white, so it goes together. I'll play with certain elements, but I don't really think about it too much.
As the years pass, I find that writers who were once central to me aren't anymore. I revered Yeats's poetry in college. I respect it now and am still ravished by certain lines, but I don't go back to him again and again. I do go back to Emily Dickinson again and again.
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