Top 218 Rehearsals Quotes & Sayings - Page 4

There are these rare moments when musicians together touch something sweeter than they've ever found before in rehearsals or performance, beyond the merely collaborative or technically proficient, when their expression becomes as easy and graceful as friendship or love. This is when they give us a glimpse of what we might be, of our best selves, and of an impossible world in which you give everything to others, but lose nothing of yourself.

I don't have much to compare it to because I really didn't know much about theater. After I signed on, I started reading a lot of Sam Shepard plays just to brush up on my history and do some research. What's great is that Sam's been here and he's been in rehearsals with us. Sometimes you don't even notice him come in; he's just sitting there in the theater seats watching you.

I've been quoting the book [on Peter Sutcliffe] constantly in rehearsals. Some members of the cast have stated their disapproval that it should even have been written. Some of the women have expressed more - disgust and anger. What are they saying? They'd prefer not to know, not to understand? They'd prefer certain areas of life to be censored? Isn't that partly what breeds the Sutcliffes and the Nilsens?

I've done films where we don't rehearse and I've done films where we heavily rehearse. I like rehearsals.

Ivo van Hove is directing The Crucible, and rehearses in quite an unusual way. We started rehearsals last week and dived straight into the first act, like, five minutes after we all turned up. No warm-ups. We were very intensely immersed in that whole world on day one. It was quite surreal because I've never done any theater before.

Every accent, every emphasis, every modulation of voice, was so perfectly well turned and well placed, that, without being interested in the subject, one could not help being pleased with the discourse; a pleasure of much the same kind with that received from an excellent piece of music. This is an advantage itinerant preachers have over those who are stationary, as the latter can not well improve their delivery of a sermon by so many rehearsals.

I was seventeen and the star of my high school play. I was supposed to kiss my leading man, but I couldn't stand the guy. I really didn't want to kiss him. All during rehearsals, I refused to kiss him. Then my drama teacher told me, "If you don't kiss him on opening night, you'll flunk drama class. So I kissed him, and that was my first kiss.

I write. I have read a great deal. I enjoy books. I like the wit of languages. Even French I like. I like to be able to think in different modes. I like to be able to use the language a great deal and carry on rehearsals in French.

What was important was to trust - to be led through the dark by Angelina Jolie and then being touched by Zana Marjanovic, and doing the same for them. I'm so happy, and I'm so glad - this is the quality that makes The Land of Blood and Honey what it is - that in all these difficult scenes where I'm naked, not just physically but emotionally, we were able to achieve, without rehearsals, by just exploring the space.

I have a very, very secret drive to become a dilettante, without the pejorative overtones or the obligation to produce myself. There's so much to examine, so much to contemplate. I have enormous enthusiasm when I start a new project but then there's the meetings and the counter-meetings, the rehearsals, the struggles. You have to keep pushing and pushing and pushing to get your dreams realised.

I had no idea how difficult Sondheim's music would be. All through the rehearsals, I kept flubbing. There were so many tempo changes. I could never get through the opening number without any mistakes. One day, I went up to Hal Prince and offered to leave the show. He laughed it off. He said, 'Don't be silly. That's why we have tryouts.'

Of all the forms of exercise that I have done, Power Plate® training is the most concise. If I start my session at 9.30am, I know I can be at my desk by 10.15am and I can even fit in a workout before rehearsals. Power Plate® exercise is not at all intimidating, and I know that in a short session I have had a complete workout.

When I go into 'You're the Worst,' I'm very glammed up, and my hair and makeup is va-va-voom. Now what I'm having fun with in 'Grease' is, honestly, I go to rehearsals with zero makeup. When I get pimples, I get excited about it, like 'Yay! It helps the character!' The frumpier and uglier and grosser, the better with Jan.

In terms of performance, something unexpected is always good, it's preferable if it's unexpectedly good. But unexpectedly bad has a lot to say for it as well. It's always nice to be able to look back on a show and say, "Oh, that's the night that this happened," and a lot of the worst memories are better than the shows with no memories. A good rehearsal is a lot harder to describe. A lot of rehearsals that end up feeling best are the ones where something really bad was happening, and you just kind of got past it and fought through it. Just dealing with things that are inevitable.

At eight o'clock the curtain goes up and that's it, you're out there with yourself, the audience, the other players. There's no "take two" business. You're on. The great thing is the rehearsals, too. When you're bouncing around on film sets and TV sets you don't really get the opportunity to - generally speaking - rehearse much. With theater you're kind of four-to-five weeks locked down in the room with the guys figuring stuff out. It's back to play school.

I love the performance of a craft, whether it is modest or mean-spirited, yet I walk away when discussions of it begin - as if one should ask a gravedigger what brand of shovel he uses or whether he prefers to work at noon or in moonlight. I am interested only in the care taken, and those secret rehearsals behind it. Even if I do not understand fully what is taking place.

My earliest influences would definitely be my father, just seeing him play in different bands and going to his shows and going to the rehearsals. You know what I'm saying, it was the typical story of a son looking up to his dad. So the years that my father was around, my father was my biggest influence.

I knew Chester. I've known Chester since 2001. I was in a band called Dry Cell, and we were signed by the same guy that signed Linkin Park, so that's how I knew him. He would come to some of our writing sessions and rehearsals; I'd see him in the studios that we were at.

It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.

Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!

I've done films where we don't rehearse, and I've done films where we heavily rehearse. I like rehearsals.

We had about seven real cats at any one time on the set, and two animatronic, (one that sits and one that lays down) and two stuffed animal type cats that we used for rehearsals or any sort of silly torture we had to instill on the poor guy.

After a couple of rehearsals and a couple of takes, Sydney Pollack says, "Come here. Why are you not nervous?" And I [say], "Do you think it would be better if I was nervous?" And he says, "No, it's just I can't understand it - how you would be first time on a set, you're acting, when he flubs his line you make up a new line. It's very interesting." It's not that I think I'm great; that's what I knew I wanted to do.

We are all from different cultures. Heath's [Ledger] Australian, really. I'm from here. Ang's [Lee] from China. But I think Ang gets very close in preproduction and rehearsals. And then he allows his actors - I don't think scared of actors, but I think he's scared of getting in on the scenes he's watching. The space he's watching. So he just totally disconnects from you while you're shooting.

I love the theater. I love the rehearsals. That's where you build a performance. That's your foundation. If you're gonna build a house, you start with the foundation. That makes the house strong. That's the way I build a character, from the foundation out.

If you now have 20 previews, you will regard 19 of them as super-rehearsals, which is fine, except you are being watched by thousands. I remember suggesting on more than one show over the years, 'Let's not have any previews.' But no one agreed with me. If you could do that, however, it would be a great gimmick - no previews, just opening night.

Adaptability is crucial to working on Glee because every day is adapting to something. Because we're doing a different genre of music, doing a different type of scene with a different scene partner, recording and dance rehearsals... no day is like another.

Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.

Rehearsals are set up so that you find out all the nuances about your character. You never want to beat yourself up. It's about finding the right direction, and most of the time, the right direction is not what you think is the right direction. That's why the director's there: to guide you there.

On indies it's hard to do, but in rehearsals, you make mistakes in rehearsal. It's really hard rehearsing a play or what rehearsal you get on any movie. That's where you get to make your mistakes, and you make big ones. So when you shoot [the movie] or you finally get the play in shape and do it, the mistakes are out of the way. If you're not afraid to make mistakes, then there is no writer's block or actor's block.

For a long time I didn't know what I wanted or what I loved to do. Friends had that blessing and I remember thinking when I would have my turn. Then, in 9th Grade I sort of fell into playing Danny Zuko randomly in that years GREASE themed portion of the dance show. The moment I hit the stage I think something in me knew. Even in rehearsals. I'd fallen in Love.

When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.

The first time I found out that 'Boo'd Up' went platinum, I was handed the plaque. They really surprised me. I thought we were gold, and then Mustard and my managers brought the plaque to my rehearsals and told me. I was like, 'You are lying!' Like, I couldn't believe it. I'm just honored, honestly. It's a great feeling.

You know, Nirvana used to start rehearsals with the three of us just jamming. For, like, a half an hour, just noise and freeform crap - and usually it was crap. But sometimes things would come from it, and some songs on Nevermind came from that, and 'Heart Shaped Box' and stuff on 'In Utero' just happened that way.

Then it's settled," Harriet said. "We shall work out the smaller roles later.""What about you?" Elizabeth demanded."Oh, I'm going to be the goddess of the sun and moon.""The tale gets stranger and stranger," Daniel said."Just wait until act seven," Miss Wynter told him."Seven?" His head snapped up. "There are seven acts?""Twelve," Harriet corrected, "but don't worry, you're in only eleven of them. Now then, Miss Wynter, when do you propose that we begin our rehearsals? And may we do so out of doors? There is a clearing by the gazebo that would be ideal.

Alfonso Cuarón, in the rehearsals, without J.K. Rowling's knowledge, told me that [my character] was, in fact, gay. So I'd been playing a part like a gay man for quite a long time. Until it turned out that I indeed got married to Tonks. I changed my whole performance after that. Just saw it as a phase he went through.

The living together is very important in a way. It's important for writing. It wouldn't be important if we were like just getting other people's numbers together, we'd just have to meet at rehearsals, but writing is something almost completely different.

We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot.