English - Actor | August 25, 1957 -
For years, I wasn't in the least bit interested in opera.
Simon McBurney
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'The Magic Flute,' I think, is fundamentally asking what is it to change people's consciousness.
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Mozart's seeming frothiness is just a light touch with very profound material. That's what I've found working on 'The Magic Flute.'
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I might be like a conductor, or I collect the stuff together and I do a lot of my own writing. But what is a pleasure is the whole creative thing in which we're all excavating and trying to find something.
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I'm passionate about music, and I feel that theatre has an extraordinarily musical ability in the way it operates on the audience.
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When I was doing 'A Disappearing Number' in Plymouth, we had to go on an hour and a half late, and I still hadn't written an end, so we had to make one up, and then we had to go out literally with our pants round our ankles.
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I feel that if you can play on the streets or in a comedy club, then in a theatre it's a doddle because you've got an audience.
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Our lives are a sequence of things. When we're alive, they're continuing, just as my words now are an improvisation. So the idea of 30 years is actually quite nebulous. It's impossible to encapsulate it. All you can do is go: 'what next?'
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Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.
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If you're an actor, go out and act.
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I spent the majority of time at school trying to break the rules. I would climb to the top of buildings; I even burned a building down once - not intentionally, just because I was interested in fire. I remember going through the rule book, ticking off the ones I had broken and looking for the ones I hadn't.
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I'm naturally attracted to something I don't understand because when you try to deal with something you don't understand, it opens a door into another world.
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