Play Production Quotes

Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.

To come into my world, I've got some M&Ms and some potato chips, and I'm asking you to move furniture. We're making a movie. We're making it like we're putting on a play.

The process of doing plays will make you an actor.

Plays are not written but rewritten, and much of the rewriting takes place at the behest of the director, whose job it is to grapple with the myriad complexities of moving a play from the page to the stage.

If you want to support a writer, produce the first five plays he writes.

'Clybourne Park' was my first job after the birth of my son, who was 11 weeks old when we started rehearsals. And while that was truly harder than anything I've ever done, I was grateful every day to be going to work on such an incredible play, with such a generous, intelligent, supportive group of people.

I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.

In January 1962, when I was the author of one and a half unperformed plays, I attended a student production of 'The Birthday Party' at the Victoria Rooms in Bristol. Just before it began, I realised that Harold Pinter was sitting in front of me.

To be a theater actor, I think you have to do plays all the time.

When I was told that I was being offered a role in 'Miss Julie,' I already knew I wanted to do it.

My very first role was when I was 2 1/2 years old; I was one of Nora's children in 'A Doll's House,' with my father playing Torvald.

I was in a play with Julia Roberts and Paul Newman and Tony Randall.

My first assignment was a curtain-puller for 'The Curious Savage.'

A play should have barely been rescued from the mess it might just as easily have been.

When you're doing a play that's fully produced, you have the benefit of rehearsing for four or five weeks, so you really get to live in the skin of the character for much longer than when you first start doing a character on TV.

I'd like to have one of my plays on Broadway.

When plays present themselves, I can't miss 'em. I got to make 'em.

You have to take a huge loss financially to do a play. You have to put aside the commercials and the speeches and the other things that put money on the table, and really save up to do it. And that's what I've done here. But it's worth it to me to be in a really good play.

I want to toy around with producing a Broadway show.

It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself.

The shields were enormous. In 'Julius Caesar,' I died early in the scene and used to fall asleep under the shield until I was woken up by applause.

What Lou Tyrrell creates when he has a theater is a birthing center for new plays.

I really like the animated film process. It's kind of like doing a play, because you can experiment with it, rewrite it, screen it, go back, then work on it a little bit more. If the joke doesn't work, you can fix it. It's different from a live action movie.

Now I can't wait to write my next play.

I would love to have the opportunity to do a play.