With directing, you've got to find something and drag it up from its inception, and I'm at the early stages of doing that again. There's something all-consuming and addictive about that.
While the goal of a book is to create a positive emotional experience for the reader, the goal of the opening is to set the stage, to pull the reader in.
There's something about being in a house with an audience, and having that immediate feedback. I started acting because of that energy; it's what feeds me on stage and informs my choices.
A screenplay is really a blueprint for something that will be filmed. Therefore you must always keep in mind that whatever you write is going to be staged, for real.
It probably says something really clinically terrible about my character that I need to get up on a stage and go 'Ra ra ra' in front of people.
With bass, especially bottom end, the vibration has to happen on stage otherwise the feel is wrong. This is why you can't scale the equipment down too far.
Me being a shy kid, very closed off, showing vulnerability in a character was sort of a safe space on stage. It's always been in my toolbox, there for me when I need it.
Also the wonderful thing about film, you can see light at the end of the tunnel. You did realise that it is going to come to an end at some stage.
What I want to understand is what I am talking about on the stage. What I don't want to understand is what the government is talking about when the government tells me about taxes.
Actors ought to be larger than life. You come across quite enough ordinary, nondescript people in daily life and I don't see why you should be subjected to them on the stage too.
Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
I just can't wait to get out there on stage. There's no anxiety at all. I love being able to take this journey with the audience, because we all have a ball with it - even if we're crying.
For a long time, we've worked on detecting planets with whatever was at hand, making use of existing small telescopes or even amateur telescopes. It's time to move on to the next stage.
Regression to the stage of early infancy is not a suitable method in and of itself. Such a regression can only be effective if it happens in the natural course of therapy and if the client is able to maintain adult consciousness at the same time.
I conquered my stage fright a long time ago. In my line of work, it's kind of a pre-requisite that you not feel bad about looking stupid in front of a lot of people.
People think of waves as going in an orderly crash - whoosh - crash - whoosh, but in fact there are lots of different crashes and whooshes, all at different stages, and all going off at the same time.
I spent a long time in London on the stage, and you knew exactly what you were going to be doing. You not only knew the performance, but you also knew exactly where you would stand.
The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.
I was a kind of angsty teenager and I would write diaries and write stuff down all the time. Sometimes I get to the level on stage where I'm singing and it feels heavy, but not always.
I was brought up in a house full of women; the first time I realised no one was interrupting me was when I was on stage - that's probably the subconscious reason I became an actor.
