Quotes About Work

Theatre is relatively easy if you're British - you're living in the theatre capital of the world, London - there are so many places you can work, still. If I had begun to think of myself as a film actor, I think I would have got distracted.

I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.

Acting in the theatre is fun; acting in film is work.

I come from a theatre group called Drama Tech in Delhi. When its founder Mr. Chopra called me and appreciated my work, that was also satisfying because he gave me my first play.

My dream really is just to keep working in film and in theatre.

When I realised, on 'The Straits,' that physical work in the theatre takes much longer than directing scenes, it was like a eureka moment. If you want to work physically, you have to accommodate it, and it takes a disproportionate amount of time.

I come out of repertory theatre so I've been working under pressure my whole career.

Cornelia Parker has inspired a lot of my theatre work. Her art is about points of impact: it's poetic but with a strong literal story.

Writing, and its theatre of operation, is better than working shifts packing frozen sausages; that's all I need to think about if I'm having difficulties.

I've gotten to go wonderful places, meet interesting and intelligent people, and I started of course in the theatre and continue to work in the theatre where there is some intelligence involved in it.

You get used to being lazy doing films, but classical theatre's going to finish me off.

Then I left school at 16 and worked in Perth Repertory Theatre, which was quite nearby where I lived. And I worked there for about six or seven months, as part of the stage crew.

Every time you get the chance to work with somebody you admire and would like to collaborate with... it feels like the best opportunity that's ever come your way, whether that's in fringe theatre or a really big-budget Hollywood movie.

My plan was to go to New York and do some theatre, and then I got the script for 'Psych.' I was like, 'Ahh - just as I thought I was out, you pulled me back in!' I had a great meeting with the show creator and we laid out the parameters to make the show work: what I would do, what he would let me do.

I've found a lot of the thinking in America is that a lot of people become actors to become famous. At least from my experience, I have a dozen or so British friends who are actors, and if you look at their body of work, and they'll go do theatre, and they'll go do this and this. They work, and they're always honing and trying to be better.

I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn't exist without the performance-art element.

I thought I was going to be a theater actor. I moved to New York after college and did some plays and worked a lot. Once the realities of living as a theatrical actor hit me, I realized I wanted to start making a little bit of money and not have to bartend and work in theater.

I always thought from my knowledge of London theater and the audiences here that they would appreciate a truly genius piece of theatrical work.

Opera is a very stimulating place to work, and I believe it offers the most intense theatrical experience possible.

My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.

The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.

There is a thematic continuity here within Bigelow's work: 'The Hurt Locker' serves up a military equivalent of the thrill-trips that Lenny Nero was hustling in her earlier 'Strange Days.'

It might be thematic work. It might be theatrical. I enjoy that kind of work.

Emotional life is - alongside work - one of the great challenges of existence and is a theme that I keep returning to.