Victor Garber Quotes

When you turn professional, you become an entertainer, and like every other entertainer, you don't want to get a bad review.

It's very lucky to be able to do a job where I get to sit about writing plays all day and going to the theatre. The downside, I suppose, is that you put it out there, and people are invited to like it or loathe it.

The thing about making a musical is that you can and will be replaceable really quickly.

I'm looking for one of two things and sometimes they dovetail: I'm looking to go into a theatre and see a certain kind of show. And if it's not there, I'd like to do it myself so it would be there.

People think being Elvira is a lot of fun - and it is - but I was doing a lot more bizarre stuff before then, just being a dancer and a showgirl and traveling around Italy in a band and working for Playboy Club, and later being a model and meeting a million and one people and being kind of a groupie... It's all been really interesting.

One of the coolest things Twickenham Fest does is to commission new works.

Music is art, and once you become an artist, you need to learn how to accept criticism.

I remember clearly watching a 'Sooty Show' at a theatre and telling my mum I wanted to be up with the puppets, not in the audience.

You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'

It seems to me that the surest way to remove from the stage really undesirable plays, is for the public to refuse to go to see them. Censorship by law has always seemed to me too difficult and complicated where art of any kind is concerned.

The job of an artist is to entertain and not get involved with politics. We give the people in the countries we are visiting a good show - that's the purpose of an entertainer.

I love theatre because of the audience. It feels risky. But I love film because it travels to the whole world. To an audience I don't see.

The same critics who destroyed 'Seven Streams' when we opened in Edinburgh - and yes, it was horrible - called it one of the most important shows of the 21st century six years later in London.

Ah, 'Kismet,' or Carry On Camel, as we called it. I thought the show was shocking. It was the worst designed production ever but it's got a fantastic score. It's not an awfully good book though. You really have to work hard to eke out any laughs from that script.

There's something refreshing about going to work with a different group of dancers. There are different ways of moving, different ways in which the institution functions. There's a contrast from place to place, so the variety and the experience of working in a different place feeds me.

From a very young age, my main thing was always entertaining.

We're in the entertainment business.

The Boston run of 'Lolita, My Love' ended after a mere nine performances - though one of them was recorded at decent enough quality to be preserved by the New York Public Library.

I'm in show business, and I'm an entertainer, but I also see myself as an artist doing social and spiritual work.

I'm neither excited nor worried when my film releases. As an artiste, I would definitely want people to like my work... that's why we are here. But I don't really sit up and look at reviews. I have never sat down to ponder over what others have to say.

I like to do shows that open a dialogue.

'Slumdog' initiated a chain of events like going to Cannes and being invited to the Cairo Film Festival, which changed my perspective of cinema and of being an actor forever.

Carrie Underwood clearly drove 'The Sound of Music.' For 'Peter Pan,' we had terrific actors but not stars, and we did not do nearly as well.

Actors love to do good work irrespective of country and borders.

Nobody wants to make something that displeases people, but once you make a film, that's out of your control and you can't think about that. You just have to follow your head and make sure that you're satisfied by putting down what you intended.