Quotes About Interpretation

One word in one system might mean something else. You have to get a feel for it and study hard and then also when you get into these game-plan weeks, just bear down on what we're doing on a week-to-week basis.

Drama read to oneself is never drama at its best, and is not even drama as it should be.

The whole problem of the sound-work is distancing oneself from the dramatic.

When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.

Good acting is confused with good dialogue delivery. Acting is about all about performance, and the way we interpret and understand the character that we bring alive onscreen.

As long as I don't go onstage completely normal and then jump into character onstage, I assume that most fans would be able to accept me as the creator. I can comment on the work the same way a director would on his movie.

Plays are frequently infected with ideas that came from actors or even sound engineers. Some Shakespeare scholars wonder whether some of the Bard's lines came from onstage improvisations by actors.

Singing is about telling a story. When you are onstage, you get to be your own self... When acting, you're someone else.

I had one guy say, 'I watched your show and didn't agree with what you said.' And I'm like, 'It's a joke. How could you not agree? I can understand you saying it's not funny.' But it's like my going onstage and doing a knock-knock and somebody going, 'I disagree. There's no door here.'

I think I'm a dancer in terms of what I do onstage.

On one level, all of the characters in 'Game of Thrones' grow out of George R.R. Martin's imagination. Therefore they are his. As long as they are in the novels they are his. But the moment they step forth onto the TV screen, they become filtered through the showrunners. In a business sense, it's the same way with comics.

Normally, learning lines is fairly easy for me, but when you add an accent onto that, it adds a complexity that I had not anticipated.

I'm interested in when language fails, when it is opaque.

I always like to leave art and music open to interpretation.

Some directors are open to ideas, and some are rigid. And, some actors are into method acting, and some, instinctive.

When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel.

I keep an open mind when a script is narrated to me.

A story is open-ended. A story invites you into it to make your own meaning.

I don't want to make films that give you the answer. If there is a message to my films - and I hope there isn't - it's to be open-minded.

The more and more I work with really great actors, the more it's about opening yourself up to what they bring.

If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.

I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.

I love to conduct opera.

I did 'Doubt' as a film, a play and an opera.