Top 1200 Theatre Directors Quotes & Sayings - Page 2

Every theatre worth anything has somebody in the middle of it who is driving it; like Joan Littlewood with her theatre.

Above all, I am a theatre person, from the National School of Drama, I want to promote theatre.

The theatre starts every night at half past seven, and I like the rhythm of going to the theatre, parking the car, going to the stage door; I've grown up with all of that. I'd love to do more theatre - I mean, I shouldn't be telling the world that I can't remember lines any more, but I find it more and more difficult, so I don't know.

'Doctor Who' was my first telly job, and before that I did a lot of theatre in education, children's theatre.

We have the ability to change people's minds and hearts - that's what we want to do with theatre. That's what theatre does... period.

I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.

I have theatre-training, I love doing theatre, I've done Broadway.

Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.

All theatre has truth, from Theatre in Education to panto to Shakespeare.

I think the great thing about theatre, and if you start in theatre, is that it does build a confidence in poetic themes and ideas.

I studied theatre at Glasgow University and then was lucky enough to land a scholarship with a theatre group in Edinburgh.

I've worked with a couple of female directors now, and I think that they're amazing. As good or better than guy directors.

I like the theatre because you paint with broad strokes. To me the theatre is stretching its definition really far.

It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.

Theatre can be so patronising. So often, it's just proselytising for the theatre.

Theatre is my first love, simply because I started out with theatre.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

Theatre probably originated without texts, but by the time we get to the classical Greek period, theatre has become text-based.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

A lot of respect to people who do theatre, but I wouldn't make a good theatre actor is what I feel.

I've come from theatre and you have different productions of a text in theatre. It's not unusual.

I'm not saying that theatre is a doomed profession, but if a person wants to stay in it very long, they'd better develop theatre skills beyond just acting.

I felt I knew Lugosi. Like him, I had worked for good directors and terrible directors.

There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.

When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.

I want to bring theatre to a new generation, using the tools available to us, including taking it out to them on film and with new technology, but that is just so they can discover theatre. I want them to come in and sit in a theatre. This is the way to plant seeds.

Basically I was a theatre fanatic. I had a job with Home Box Office as a theatre consultant for a long time.

The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.

I wanted to be a movie director. I was just obsessed with watching movies and camera shots and directors. I read autobiographies and stuff of directors.

I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.

After studying theatre from National School of Drama, theatre became a passion, an ambition.

After joining theatre, I started thinking that acting in films was not half as challenging as theatre.

I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.

Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.

Theatre is my first love. I don't understand why people say that theatre can't give you money.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.

I did theatre in the U.S. because there, content-wise, it's very light. In India, theatre tends to get preachy.

To save the Theatre, the Theatre must be destroyed, and actors and actresses all die of the Plague ... they make art impossible.

As for theatre, there's ups and downs to everything. Theatre is ephemeral. But that is part of its charm because you can always say the production was better than it was.

I grew up seeing a lot of theatre, and it was theatre that really seduced me into acting - not film or television.

My family was bothered because I was a graduate but didn't pursue a job. I used to spend the entire day doing theatre, and at that time, there was no money in theatre.

Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.

To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.

Yes, there are directors I admire, the mavericks. Altman. There are many good directors.

Big producers trust the music directors. Small directors are insecure but like to experiment.

Ultimately, mentorship plays such a big role in breaking directors that successful male directors tend to reach the helping hand to guys who remind them of themselves. We need more women directors so they can reach out to girls who remind them of themselves.

There was a saying going around the theatre: It's a train, and you can jump on at any point whether you're a lover of musical theatre or a lover of theatre or a lover of hip-hop or a lover of history - there was a way to jump on the train.

After graduating from National School of Drama, I started doing theatre in Delhi. But there was not much money in Hindi theatre.

Theatre within theatre, when characters sees themselves on stage, always raises philosophical questions of choice and free will.

I think one of my favorite directors is P.T. Anderson - living directors, I should say. And Spike Jonze is one of my favorites, Gus Van Sant.

I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.

I saw 'The Wild Duck' at the Belvoir St. Theatre in Sydney, and it was one of the best pieces of theatre I'd ever seen.

It seems to me, in this culture, you need to have a subsidy to do theatre, not that I put theatre above anything else.

In Maharashtra, films are not as big as theatre. I think theatre is deeply rooted in this state's culture.

I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

The old guys like me started in the theatre. I was in the theatre for nine years.

Virtually all my conscious life I had been involved in theatre - I had been a child actor - but as a young man who had experienced the 1960s, British theatre seemed remote from my aspirations in life - theatre was still a posh thing, a middle-class thing, something for an elite.

Obviously musical theatre is not my thing, but dramatic theatre is much more up my alley.

The Theatre of the Oppressed is theatre in this most archaic application of the word. In this usage, all human beings are Actors (they act!) and Spectators (they observe!).