I'm a big believer in rehearsal and a big believer in the actors being able to find the material themselves and identify with the beats themselves without us having to stick to the actual language of the script, just for them to understand what each scene is about.
It's better not to try to learn all the lines by rote. It's a very bad idea, in fact. You have to do it by using the process, and as I say, the process is to learn during rehearsals, and that's how you'll do it.
I usually arrive at the first rehearsal with a vague memory of most of it. But the real work happens in rehearsal, oddly enough, because what happens is that you match the words to the movement, and once you know where you're moving, then the words that accompany that movement become not locked into your mind and your brain and your whole body.
I love showing up and giving a performance without the benefit of a lot of rehearsal or dissection. It's fun to me to act on a kind of instinctual level and go straight for the performance.
Love is the rehearsal of Paradise.
I remember when I was doing The Crucible on Broadway with Laura Linney, and Arthur Miller had been in rehearsal with us and was on stage on opening night. She turned to me during the curtain call and said, Lets make sure we remember this.
Live more than your neighbor. Unleash yourself upon the world and go places. Go now. Giggle, no, laugh. And bark at the moon like the wild dog that you are. Understand that this in not a dress rehearsal. This is it. Your life. Face your fears and live your dreams. Take it all in. Yes, every chance you get. Come close. And by all means, whatever you do, get it on film.
I like to go for a certain over-the-top opulence when naming the drone pieces whereas the song titles are all about concision, I guess. I mean, if I were truly a purist, I'd call things, "Long Piece #27" or "Newest Fast Song", but I enjoy titling and it is helpful at rehearsals or when making set-lists.
The living together is very important in a way. It's important for writing. It wouldn't be important if we were like just getting other people's numbers together, we'd just have to meet at rehearsals, but writing is something almost completely different.
Contrary to vulgar legend the lives of great ballerinas are not entirely given up to a few minutes of graceful movement every night followed by champagne drunk out of their toeshoes till dawn, in the company of financiers ... no, most of their time is spent in filthy rehearsal halls, inhaling dust, or else in class, daily, year in year out, practicing, practicing even after they are already prima ballerinas.
I've been quoting the book [on Peter Sutcliffe] constantly in rehearsals. Some members of the cast have stated their disapproval that it should even have been written. Some of the women have expressed more - disgust and anger. What are they saying? They'd prefer not to know, not to understand? They'd prefer certain areas of life to be censored? Isn't that partly what breeds the Sutcliffes and the Nilsens?
I try to write about small insignificant things. I try to find out if it’s possible to say anything about them. And I almost always do if I sit down and write about something. There is something in that thing that I can write about. It’s very much like a rehearsal. An exercise, in a way.
I really like our studio. It's definitely not in any way slick; it's very homemade, literally. Everyone has their own room to produce and write, and [there's a] big rehearsal space.
You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
Every accent, every emphasis, every modulation of voice, was so perfectly well turned and well placed, that, without being interested in the subject, one could not help being pleased with the discourse; a pleasure of much the same kind with that received from an excellent piece of music. This is an advantage itinerant preachers have over those who are stationary, as the latter can not well improve their delivery of a sermon by so many rehearsals.
I never actually do rehearsals. That's one of the reasons that I write those bios and if I can meet with the actors I'll meet them or talk to them on the phone. What I want is for them to come on set knowing their lines and knowing who the character is.
When you audition for things, there's pressure to go in there with a complete performance, and it's kind of unfair because, if you get it, you'll have rehearsal and talk about it, and you'll have plenty of time with the script. So, for me, I really do feel like an audition is a sketch of what you might do.
When the play is still evolving I try to be at rehearsal as often as possible, and part of that casting process. You find new things when the language is living in different people's mouths.
When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.
I also call my family and see what's going on with them before I start my day with interviews, rehearsals, or anything else. I just want to do everything well and still be there for my husband and children. I am so grateful for my family because they are so understanding. I can't take all of the credit; it's a team effort.
The pre-shoot days are so relaxed and fun and the writers are laughing. I love the rehearsal process.
Everything in The Room, we did it the same way the big studios do it. The only difference is the budget and the actors. We put an ad in Back Stage West and in return we got almost 8,000 headshots from people who wanted to be in the film. We then do a process of selection and a rehearsal process after they are selected. The process of audition is very time consuming.
The music director, Stephen Oremus, was telling me: "I hope you've done your work." We only have ten days rehearsal. The music is no joke. My solo singing is not that hard. But the stuff I have as part of the choir or as a "Dead Guest" in the second-half... I'm singing some really incredible chorus stuff that I haven't done in a long time. It's extremely difficult.
I come in as an actor, having read through the script a few times, made a couple of character-choices, thinking I'm going to be working on it during rehearsals. It's very different. It takes a while we're always like dogs sniffing each other's asses.
That's opera! I just love it. It just thrills me! And it's very different than theatre, and sometimes it can be frustrating because when you come in the first day of rehearsals obviously you're an opera fan, right?
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