Now, when I started my theater, the modus operandi was having the actors stare right into the audience.
If an American audience is given a serious musical theater piece that is well produced, dramatically gripping and wonderfully acted, they'll respond to it.
I had all the normal interests - I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.
I really would rather have gone to New York, since all my training had been in theater, but I didn't have the guts to go there alone. I knew only one person in New York, and that was a man. What I needed was a woman. That's the way Southern girls thought.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
This is an age of specialization, and in such an age the repertory theater is an anachronism, a ludicrous anachronism.
People whose understanding and taste in literature, painting, and music are beyond question are, for the most part, ignorant of what is good or bad art in the theater.
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 of these super-villain characters.
I had never done any theater in high school, which actually worked to my benefit. I didn't develop any bad habits.
Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.
Depending on what your interest in theater is, I always recommend working on plays. It's a great way to be introduced to the field, and also a great way to be seen by agents and representation. I'm also a great advocate for studying acting at a drama school or a college.
I became an actor by doing school plays and youth theaters, and then National Youth Theatre of Great Britain. And then I did study at the London Academy of Music and Dramatic Arts. For me that was a good way to enter the field, to work in the theater.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
I grew up in Queens and New Jersey. I started doing children's theater when I was seven to get out of school because I didn't fit in.
I wore goofy hats to school and did musical theater. Most people thought I was a dork. But if you have a sense of humor about it, no one can bring you down.