When the digital world is really here, movies can be disseminated from satellite direct to homes and direct to small theaters in Mongolia and northern Russia and obscure places that the market for movies is going to grow and grow and grow.
I was obsessed with romance. When I was in high school, I saw 'Doctor Zhivago' every day from the day it opened until the day it left the theater.
Quite often - a lot of the work I had done had been extensively with women. Most especially in the theater, but also quite often in the movies. That has its own delights, and maybe pitfalls too.
When I was a kid I used to go to the movies, double features in outdoor theaters, and my parents used to take us to see like, 'Cat On a Hot Tin Roof' or something like that, with Elizabeth Taylor.
We have a very wide range of content, but the brand-newest movies, what's happening with those is a $30 pay-per-view option - not from Netflix but from DirecTV and others - of movies that are in the theater.
You have to transmit to them what it's like being in the theater. And it has to come from somewhere inside you and not by being like what somebody did last year.
I feel like people want there to be this mystery between film and theater, but I just kind of went where I got jobs, you know?
In theater, you've got to be aware of your whole body because it involves stamina. It involves two-and-a-half hours and a sustained release of energy, maybe for six months.
I always had a weird thing with being the last person somewhere... like a movie theater or a classroom. I get a weird sense of anxiety.
I acted when I was a real little kid. My mother was an actress in a Miami theater company comprised of actors from Cuba like her and I was the default kid.
The Australian film industry is a small industry, so you have to really be flexible within working in different mediums. A lot of actors work in theater, film, and television, because there's not much opportunity in terms of employment there.
I had to work out where I was going, what type of films I wanted to make. For that reason, I decided to choose independent productions, less important roles, and I tried theater, too.
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
I got successful awfully quick, and I wanted it... But I do think there is responsibility to move the musical theater form forward. I think you always have to be aware of the work that came before and build on that.
Here in America, every single actor, since they were little boys, they sing and dance and perform like angels. We don't do that. We are actors who work in a theater in very classic performances or plays.
For me, my 20s were all about reaching for the brass ring of work in theater, television, and film, surviving in between by waiting tables, painting houses, serving coffee, and temping.
Most theater methodology is predicated on the idea of repeated actions. That's what you work toward. Having the actor repeat the same moment eight times a week. In a film, it's getting that one moment right.
My goal as an actor was to work - to be a working actor, whether it was in theater, and, well, I didn't even consider film and television when I was in New York, but what came along, came along.
If you're a woman doing classic theater, the big roles are often destroyers. I've played Hedda Gabler, Lady Macbeth, some of the Chekhovian heroines, Electra, Phaedra - they're all powerful women, but they're forces of negativity.
I just want to keep writing characters who are interesting and complicated people and interesting roles for women, in TV or film or in theater. I think that's like my 'Blues Brothers' mission.
Memorial bracelets memorializing prisoners of war, missing in action, killed in action, and those who died of wounds or injuries sustained in a combat theater are authorized.
