It took me two years to walk around a chair with ease; it took me another two years to learn how to laugh onstage - and I had to learn everything.
Laurence OlivierRead
[May 1958, on playing Macbeth at age 30 and age 48] When you're a young man, Macbeth is a character part. When you're older, it's a straight part.
Interpretation
The perspective on the character of Macbeth changes with age and experience.
Laurence Olivier's reflection on playing the role of Macbeth at different ages highlights how personal growth and life experiences can alter one's understanding of complex characters in literature. At a young age, one may see Macbeth merely as an interesting role to portray, but with maturity, the character's depth and the weight of his actions resonate more profoundly, transforming the performance into a more serious and introspective endeavor.
In practice
In a speech about the importance of understanding character depth in acting.
It took me two years to walk around a chair with ease; it took me another two years to learn how to laugh onstage - and I had to learn everything.
What is the main problem of the actor? It is to keep the audience awake, and not let them go to sleep, then wake up and go home feeling they've wasted their money.
Work is life for me, it is the only point of life - and with it there is almost religious belief that service is everything.
I don't know what is better than the work that is given to the actor - to teach the human heart the knowledge of itself.
Acting is an everlasting search for truth.
I'd like people to remember me for a diligent expert workman. I think a poet is a workman. I think Shakespeare was a workman. And God's a workman. I don't think there's anything better than a workman.
What's wrong with hip-hop is the system that controls the definition of it. There needs to be more balance on the airwaves.
The ideal and the beautiful are identical; the ideal corresponds to the idea, and beauty to form; hence idea and substance are cognate.
People with a lot of money don't dress as well as people who have to make do, who have to be inventive. Those are the people who are always more interestingly dressed, I think. Everything I do, I do with gut instinct. If I think too much, it won't come out right.
When I go to the cinema, I'm often frustrated because I can guess exactly what is going to happen about ten minutes into the screening. So, when I'm working on a subject, I'm always looking for the element of surprise.
When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature - this very unique to Japan.
I think all art comes out of conflict. When I write I am always looking for the dramatic kernel of an event, the junctures of people's lives when they go in one direction, not another.
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