Treat Williams Quotes

I don't do a lot of rehearsal. I don't like rehearsals. I rehearse the day or morning. I spend one hour and a half with all the actors, and we go over the scenes, and we change it and change the dialogue, and we do a lot of things to it, but prior to shooting, I don't really rehearse.

For me the rehearsal period is the part I most enjoy. It's the creating of the story.

There's pre-production, and the second part is when you start rehearsal. Pre-production was a very large learning curve for me.

I do not use any set methods, not even The Method. The character after all is in the lines.

I've done films where we don't rehearse, and I've done films where we heavily rehearse. I like rehearsals.

First, you do a piece of material that begins and ends and has a flow; it's not chopped up as in a film, where in an extreme case you might be doing the last scene of the script the first day that you go to work, and you don't know enough about the character you're playing.

The happiest moments for me, creatively, are doing readings of a play around a table where there's no audience.

I mean, a lot of time rehearsals are taken up with other things other than preparing a character.

The rehearsal is where it all happens for an actor.

Sometimes you do complete run-throughs of scenes, sometimes you break scenes down into little bits. It just depends on what the actors like to do. It's almost like jamming.

The rehearsal time is almost my favourite part of being an actress, particularly if you're working on a play that hasn't been done before.

The process of rehearsal means you learn so much and really get the chance to develop your work on a character.

I like having the script before I start. With new plays, you're constantly developing as you're doing it. It's really frightening. You don't quite know how it's going to end up.

The thrill of acting is the discovery part, so it all changes, but it has to change in a way that fits what is written. You can't just wander off and get interested in your own tangent.

It's always a mystery when you're going into a role - 'Here's your wife of 40 years and... action!' How do you create ease or chemistry or whatever is supposed to exist?

Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.

As a filmmaker I find it much more rewarding to work with actors who are classically trained. It's about the work and only the work.

There are two schools of thought: There are those actors who explain to you that they know exactly how they're going to do the part... And then there is the other method, which is to have no method at all. This is mine.

In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.

I feel that once you go into rehearsal, you need to focus on the show in the room.

In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.

That's the difference between working on film and working in a play. In a play, you work on it, and you live in it and develop it and make it happen.

You know, I've never been much of a method actor. I feel like, with every project I go in extremely prepared and I like to have a good time.

I don't really prepare for each role the same way.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.