If you do television, and it's great, it's the best job there is. Every week it's another opportunity to really make that work and figure out how to make it work better. I love that it's like theater too, and the audience, and it's so short, like twe...
I did this one movie with a great director named Wayne Kramer. It was 'Crossing Over,' and Harrison Ford, Ashley Judd and Ray Liotta were in it. I was one of the leads, and I thought this was it. It got shelved for two years, and then it was in theat...
One of my favorite things to do is not to speak on screen. In theater it's different because there's a lot of emphasis on language - it's a different medium. But that is one of the most wonderful things about film. A person's face can say so much mor...
I've done a show at the Largo Theater called The 'Thrilling Adventure Hour.' We read, like, radio teleplays. It's a send-up of radio dramas from the '30s and '40s. We just did a Kickstarter for that so that we can do a web series and a concert film.
Good dancers awaken the joy in our hearts, we have seen them ablaze on stage, videos, on our streets, in the theaters, in our homes, schools and they have successfully ignited the love of dancing in our soul. At least, this is the major reason why da...
Gene [Siskel] often mentioned something François Truffaut once told him: the most beautiful sight in a movie theater is to walk down to the front, turn around, and look at the light from the screen reflected on the upturned faces of the members of t...
Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in 'True Blood' is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
The big advantage to playing the Venetian in Las Vegas - where it's a beautiful theater - is that unlike other places, even many other nice venues, I can do a set and lighting cues, I can put on a real show. I can dress up, wear a tux.
So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.
We didn't have a lot of live theater in Oklahoma. I didn't visit New York when I was growing up. I watched movie musicals, and I believed in an idealistic, idyllic version of Broadway.
I'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating...
All the Warner actors were real actors. They started in theater and led very straightforward lives - you never saw entourages around. The MGM girls were the glamour girls, and they always had the makeup and hair people with them and all that.
I didn't know anything about acting, I didn't know anything about theater, but I was just an exceptional student at high school. I wanted to play ball; I'm going after a basketball scholarship and be a doctor. I got injured and my marks began to drop...
Magneto has a whole lot of complexity to him. Emotionally, he's coming from a very damaged place. I like the ambivalence of it. I want the audience leaving the theater wondering, asking the questions themselves rather than being spoon-fed like a lot ...
I was on a series for a number of years, and I got very used to only doing a mini-play per week. When I first came back to the theater, and I was suddenly doing eight shows a week again for three or four months, I had to find a new reason to do it.
When I worked in theater, I was always writing things on Post-it Notes and sticking them on screens or desks. Twitter has given me a way of continuing to post those notes, only a lot of other people see them, too.
In the theater, when people hear that you're writing a play, they want to know what it's all about, whether there's a role for them. You write it fairly quickly, and it becomes a group activity before you're really ready to have company.
I didn't feel like gymnastics were part of The Cars. I certainly philosophically didn't want to prod the audience to react to anything. To me, it was more like negative theater. We didn't really talk to the audience. I didn't see that being a part of...
The demand in India is to have a hit, which becomes a promotion for the movie and makes people come to the theater. You have five songs and different promotions based on those. But when I do Western films, the need for originality is greater. Then I ...
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
People who are feeling bullied and people who feel like outsiders should talk to their parents and guardians about finding a place with likeminded people where they can feel accepted. That's what I needed, and that's what I found with musical theater...
