Will Rothhaar Quotes

I have no problem with starting from scratch.

One of the challenges of innovation is figuring out how to wipe your mind clean about what you should be doing at any given moment, and not having a religious attachment to what's gotten you there thus far.

Any part I do is a marriage of the words - what the playwright or producer or show runner's vision is - to how I would play it. It took me a while to get rid of 'Oh, they want it this way, so I'm going to do it how they want it.'

The boldness of asking deep questions may require unforeseen flexibility if we are to accept the answers.

You have to get a little untrapped from too much prior knowledge.

It does not matter to me. I can play from the left, the right, or attack through the middle.

I have never won big fights just doing one thing, being one-dimensional.

I just take every script as it comes along and take it from there.

You have to listen a lot, and you have to be open and ready to adjust to anything. It kind of provides a framework that you use all the time. You never really shut off that part of your brain when you're doing something. It's invaluable to have.

I think a critical part of being successful in our industry is having a beginner's mind

You have to be completely open to what people would tell you. You do not shape them; you do not force the materials into your ideas. You have to have all windows and doors open.

You've had a whole lot of experience, but everything is also radically new at each moment, and you have to bring a kind of childlike second-level innocence to bear upon all situations, if you are going to be of use and you are going to really learn from the situation or the people.

Let me give you some advice: Try to approach things without preconceived ideas, without supposing you already know everything there is to know about them. Get that trick down and you'll be surprised at what's really all around you.

There is no single approach that actors take to their craft. And the best thing you learn is that you have to really listen and respect each actor's own process and own method, and that takes a kind of delicate, non-imposing patience and openness, I think, to get the very best out of the people you work with.

I love to work in all sorts of different situations. I think you learn a lot, which is why I try not to approach something the same way, because it might not be appropriate, and then you can get lazy just out of boredom. So I love any approach.

Above all, you must remain open and fresh and alive to any new idea.

What makes people and companies and artistic directors and choreographers interested in working with dancers is the ability to kind of let go of everything you think you know and be a blank canvas.

We strive always to have a beginner's mind.

You have to remain flexible, and you must be your own critic at all times.

you must take the problem as it is, and let it be what it wants to be.

Clinging to any form of conservatism can be dangerous. Become too conservative and you are unprepared for surprises. You cannot depend on luck. Logic is blind and often knows only its own past. Logic is good for playing chess but is often too slow for the needs of survival.

There are two ways you encounter things in the world that are different. One is everything that comes in reinforces what you already believe and everything that you know. The other thing is that you stay flexible enough or curious enough and maybe unsure of yourself enough, or may be you are more sure of yourself - I don't know which it is - that the new things that come in keep reforming your world view.

Some time ago," he said, "--how long it seems! -- I remember saying to a young friend of mine of the name of Spiller, 'Comrade Spiller, never confuse the unusual with the impossible.' It is my guiding rule in life.

The beautiful thing about it is that no two directors or actors work the same way. You also learn not to be afraid of discussion and conflict.

Don't get so stuck in your ways that you can't change.