Harold Prince Quotes

I wanted to be a set designer when I was young.

I did a brief stint with set design and stage design. And I tried playwriting, too.

A play is not a play until it's performed, and unless it's a one-person play that is acted, directed and designed by the author, many other people will be deeply involved in the complicated process that leads to its performance.

I'm very into the first production of the show.

When I was 17, I moved to Sydney to study set design at NIDA.

When I was a carpenter, I built sets for small storefront Chicago companies. Like, I built sets for friends of mine at The House Theater.

When I'm making a film, I'm the audience.

I had fun doing it, but acting ain't really my thing. I am more of a production/director type. I would rather be behind the scenes and organizing and putting things together like that.

A creative and artistic home is what I've been looking for in the theatre.

Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.

With Cold Sassy Tree having its first production, I saw no necessity to do anything other than produce it with the correct setting.

We all know that on Broadway you need to have stars to do a play.

Acting isn't for me. I don't like being told what to do. I'm more interested in set design, more visually driven.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

I have directed good actors and have gone through the process which is more detailed in theater in a way. You have to get people to stay for two or three hours in a performance. They need more talk and rehearsal than in films.

One fine day I discovered that more complex plays really have to be directed.

I spent a long time in London on the stage, and you knew exactly what you were going to be doing. You not only knew the performance, but you also knew exactly where you would stand.

I find that with period pieces, you're sort of able to really take advantage of what's around you because prop-wise, wardrobe-wise and location-wise, it's all so specific due to that time.

So what I do is supervise the boarding process trying to get the shows the way I'd like them to be. And in some cases I've completely redone a board myself even though I'm not credited for it.

I realized the exciting place was behind the camera with the producer, director and so on.

'The Dance Scene' is basically the most amazing dance show in the world, and it follows me as a creative director. You see how I maintain that creativity.

And finding the hat, I always like to find the hat. And then props just dress the set. It's all fabulous.

I would love to do a musical. I would love that. I would have to find the right book, the right story, but some day I'm going to make one. I would really like to go off and direct a musical. That's what I would really like to do when I grow up.

Gosh, I'd like to direct Our Town on stage.

I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.