I always wanted to have a career that would keep me at home in New York so I can work in the theater all the time and be involved in the creative process from the ground up.
I learned how to turn it on and turn it off. You learn that in theater, too, but for film work, I learned from doing 'Henry,' I learned how to leave work at work and go home. There's always spillover. Actors speak of this.
If I were to just focus on stand-up, I could actually, paradoxically enough, be home way more, because I would leave on a Friday, go do a couple theaters Friday, Saturday, maybe Sunday, come home.
Sure, theater is tough because you're not home at night a lot and you work on weekends - every job has its downside. But to do something that you love doing for two hours a night, that's a pretty sweet gig.
You should remember that I started as a fanboy many years ago; I saw 'A New Hope' more than twenty times in the theater. I saw 'The Empire Strikes Back' nearly thirty times.
Theater criticism should be visceral, at least on some level, an articulation of that fierceness and passion. I usually do a fair amount of research before I see a show - on the history of previous productions (if it's a revival) and the creative tea...
If I can sell out clubs and theaters and play dirtbags in movies, and get blown up in a car or get the crap beat out of me in a movie, that's good for me; I'm good.
I realized that after years of studying Shakespeare and Chekhov and regional repertory theater, what I really wanted to do was bust in and rob a bank and jump in the screaming getaway car and tear through the city and get in a shootout.
One of the things that's great about New York is that it is not a one-industry town. It has education, academia, the service industry, arts, publishing, theater, politics, fashion, finance, as well as movie-making.
My sister and I used to act as maids and waitresses at my great aunt and uncle's cocktail parties, which were very much sort of retired, minor stars of the Yiddish theater and the Yiddish opera.
I've seen plays that are, objectively, total messes that move me in ways that their tidier brethren do not. That's the romantic mystery of great theater. Translating this ineffability into printable prose is a challenge that can never be fully met.
Depending on what your interest in theater is, I always recommend working on plays. It's a great way to be introduced to the field, and also a great way to be seen by agents and representation. I'm also a great advocate for studying acting at a drama...
I love TV, don't get me wrong. But with film, you're just banging out this one product, and you're not waiting on another script. You have your script. It's great in that way. It's as close to theater as you can get.
I sing in many different colors and, hopefully, they add up to a great performance that, after you leave the theater, makes you feel like I've really shared something of myself.
There is probably some great acting that goes on in movies from people who have never been on a stage, but if you are in for the long haul, you'd be missing an enormous part of what being an actor is if you're not part of theater.
All I wanted was to be a regional-theater actor, to be in a company. I thought it would be a great life. I don't think I understood how difficult it would be.
Dramas for me are where it's at, but a great drama, a great character-driven drama, there's very few of them that get made; there's very few of them that actually make it to theaters. There's just very few of them.
When I was brought up in Sweden, there was a great opportunity for young people to learn how to act in our municipal theaters with their small companies. You would be under contract for eight months and have the summer free to take other opportunitie...
The things that I have done that haven't been as successful have been things that have been largely out of the public view, which is great. It's terrible, when you're a theater writer, to have a big flop publicly.
I have a background in theater. At the time I read 'The Loved Ones' script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in 'A Streetcar Named Desire' and Isabella in 'Measure for Measure.'
When I was 14 or 15, I was a really good volleyball player, so I thought, 'Well, maybe I'll just get a scholarship to an Ivy League school through volleyball.' Then I quit when I decided to focus on theater.
