Quotes of All Topics . Occasions . Authors
I was a pretentious child. I grew up without a television. I read a lot of books and I loved Shakespeare. Still do.
There was always this idea that I would work on Shakespeare and some of the other classics, but it never came to be.
I don't think I have had a big break, although joining the Royal Shakespeare Company in 1986 opened up new horizons.
Algebra looked like Chinese characters to me, and I could never get into reading Shakespeare. I just did not get it.
I went to a performing arts high school, we learned Shakespeare, I did 'Fences.' When you train, you can do anything.
I started out in the theater, and my background is classical. I'd love to be in a film version of a Shakespeare play.
It's amazing how, age after age, in country after country, and in all languages, Shakespeare emerges as incomparable.
The rules of drama are very much separate from the properties of life. I think that's especially true of Shakespeare.
The Shakespeare that Shakespeare became is the name that's attached to these astonishing objects that he left behind.
I think you need brains to do any Shakespeare with any authority. I could do Shakespeare, but not with any authority.
I had been in a Shakespeare company for three years and done a lot of Shakespeare. That was fun. That was interesting.
I admire Turgenev, Camus, Proust and Shakespeare, but I've also learnt a lot about writing from composers and artists.
I love how Shakespeare can really rip your heart out one second and then make you laugh the next. He's a master writer.
A remarkable thing about Shakespeare is that he is really very good in spite of all the people who say he is very good.
I've hated poetry ever since I was at school. I include Shakespeare in that. I don't understand the obsession with him!
I'm crazy about Shakespeare, who was a notorious word inventor. And my wife is an English teacher, and she's hilarious.
When Shakespeare was writing, he wasn't writing for stuff to lie on the page; it was supposed to get up and move around.
People think that direct address was invented by Ferris Bueller, but in fact, it wasn't. It was invented by Shakespeare.
I was that weird eight-year-old who was really interested in Shakespeare and understood it and appreciated the language.
I liked that line in the movie 'Shakespeare in Love': 'How is this going to work out? I don't know, but it always does.'
In 1600, Shakespeare's London was a city of 200,000 people. At the same time, there were already over a million in Tokyo.
When I started in the theater, I'd do plays by Shakespeare or Ibsen or Chekhov, and they all created great women's roles.
I hear Shakespeare, sometimes, the way other people might hear God or Marx or something. But he's so different from that.
This is not writing at all. Indeed, I could say that Shakespeare surpasses literature altogether, if I knew what I meant.
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
I was taught Shakespeare brilliantly by an eccentric genius at Harrow named Jeremy Lemmon who made me want to be a writer.
I fundamentally do not believe in the patenting of software. It would be like Shakespeare patenting the tragic love story.
Shakespeare's 'Othello' was inspired by Cinthio's 'A Moorish Captain'; his 'Hamlet' came from Saxo Grammaticus's 'Amleth.'
The remarkable thing about Shakespeare is that he really is very good, in spite of all the people who say he is very good.
Prior to Wordsworth, humor was an essential part of poetry. I mean, they don't call them Shakespeare comedies for nothing.
With Shakespeare, because you invest so much time in working on material, it always sort of stays with you to some degree.
If anything, there is something quite musical in Shakespeare's heightened use of language and the way he shapes his speech.
I was in several Shakespeare in the Park productions in my younger years, but I've been busy with other things for a while.
I have no interest in Shakespeare and all that British nonsense... I just wanted to get famous and all the rest is hogwash.
Shakespeare and Co dedicates itself to a shared, heady and outdated ideal that is scarce in our protective and fearful age.
If I ever see another Shakespeare production where somebody drives a Jeep on stage, I'm going to run screaming up the aisle.
Shakespeare has been praised in English more than anything mortal except poetry itself. Fame exhausts thought in his eulogy.
My dad, when he was young, did Shakespeare in school, and my mom was a little bit of an artist, but everybody was pragmatic.
You can find more traditional Shakespeare than we do. But what we want to bring to these works is energy, passion, freshness.
I think that if Shakespeare had had access to CGI, he would have used it. Imagine Lear conjuring the storm and the lightning.
People constantly express surprise that Americans are so hot for Shakespeare. But Britain's culture is American culture, too.
I went to Fountain Valley High School. I remember watching Grove Shakespeare productions here. It left a big impression on me.
I can do Shakespeare, Ibsen, English accents, Irish accents, no accent, stand on my head, tap dance, sing, look 17 or look 70.
Anything one can do to provoke and inspire an interest in the works of Shakespeare in a young audience is fair game. Anything.
Everything that we have gone through, are going through, and will go through is there in Shakespeare. It is all of human life.
I should be soaring away with my head tilted slightly toward the gods, feeding on the caviar of Shakespeare. An actor must act.
I'm a big lover of Shakespeare. In fact, the only plays that I've ever done professionally in New York have been Shakespearian.
Each of my Shakespeare pieces is different to the other, but each espouses a set of philosophies common to all my theatre work.
Now, when I talk about Shakespeare, I can't talk too much about Gielgud or Olivier. Because nobody knows who I'm talking about.
I think Shakespeare really got it. He was the first one to introduce psychology to villains and give them a real point of view.