I've always had this deep and chronic sense of dissatisfaction.
I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.
I actually would love to live in New York. But I need land; I need space. I'd love to move to a place where I could have a lot of land and a goat.
There's a part of me that wants to be known and make a comfortable living but still be able to go grocery shopping. My overall idea of success is having people I want to work with want to work with me.
I personally take cues directly from the script, then I like to surprise the other actors. But you must maintain control on a level and see how far you can go up, down or out emotionally. You have to balance the craft with spontaneity.
What draws me to the theatre, and what appealed to me about Too Much Light, is that you have no idea what's going to happen. That's the most exciting part of theatre, it's never the same. If it were, it would be like watching a movie.
College was a great time. I partied there, but I also learned how to act.
I always wanted attention, and I realized I could make people laugh.
I don't call myself an artist. I act. That's what I do.
I pray to be of service to the playwright, the audience, the other actors and my character.
I think my face and voice suit me better as I get older.
What I love about theatre is that it disappears as it happens.
Acting is very much like a child making believe. I'm not one to become a character, but I fall in love with the character. It's like having faith; you're going to be that person for a while.
I get bored at the theatre a lot because I notice that there's not always a connection between the actors. They may be technically proficient, but they're not surprising each other. I'm thrilled by actors who make choices that are surprising.
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