Lynn Nottage Quotes

When you have the cast, the sets, the lights, an opera takes on its own life. I'm not one of those directors who marches in with a set of plans.

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.

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 good thing about helping an actor create a performance is, you really don't know how you're going to do it. It's a challenge every time you get to the set. That keeps the energy flowing all the time.

To be fair, when I started doing 'Verdict' I literally had no idea what I was doing. I wanted to do some theatre, as I wanted to do something different. I wanted to learn and get an understanding of the craft.

It is hard sometimes to see how other actors are working when you are working with them.

The more and more I work with really great actors, the more it's about opening yourself up to what they bring.

Working with actors is something I've never done before. I find it tremendous. It's hard work.

Live-action is more fun for me, because you're acting with people. When you do voice-acting, many times you're not even in the room with the person that you're acting with.

I feel like a lot of directing is casting.

Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.

I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.

As a director, it is important to understand the actor's process.

Anyone who has been given the gift of being opposite an actor who gives and gives, it just makes you better.

One of the exciting and enjoyable aspects of acting is being in the environment with another actor.

When I first became an actress, I expected to do regional and classical theater; I just love the whole creative process.

To be able to work with actors who are doing such good work, not only makes it easier for you, but it makes you better.

I love opening night, and I love doing plays. But one of my favorite parts about doing a play or working on a new play is rehearsal.

I like doing a lot of research, and then you get there, you're in wardrobe, and then you're just reacting to what the other person is doing. The other actor is reacting to what you're doing, and it's this great back and forth. Because you've done all this research, you can use some of it or throw a lot of it out. You can get lost in it.

Once I'm on set, the only thing I'm really interested in is being in the room. Being present. And trusting that what I've done is sufficient, and I'm also trusting that I've also left room for magic.

Most actors are pretty adaptable because we work with so many directors.

I have a theater background, so I like finding beats, working on things and having rehearsal.

I love stage work. The thing about plays is that they're perfectible. With film, you shoot that take and maybe another. During 'Spamalot,' I rewrote Act II three times.

When I got to the reading all the work, I was reduced to being an actor in an experimental play that I'd already written. And I didn't want to be an actor.

My background with Cummings was rehearse, rehearse, rehearse, but Tuesday liked to walk in and do the scene. I must say that she was really wonderful. Aggravating, but wonderful.