It took me two years to walk around a chair with ease; it took me another two years to learn how to laugh onstage - and I had to learn everything.
Laurence OlivierRead
[May 1958, on playing Macbeth at age 30 and age 48] When you're a young man, Macbeth is a character part. When you're older, it's a straight part.
Interpretation
The perspective on the character of Macbeth changes with age and experience.
Laurence Olivier's reflection on playing the role of Macbeth at different ages highlights how personal growth and life experiences can alter one's understanding of complex characters in literature. At a young age, one may see Macbeth merely as an interesting role to portray, but with maturity, the character's depth and the weight of his actions resonate more profoundly, transforming the performance into a more serious and introspective endeavor.
In practice
In a speech about the importance of understanding character depth in acting.
It took me two years to walk around a chair with ease; it took me another two years to learn how to laugh onstage - and I had to learn everything.
What is the main problem of the actor? It is to keep the audience awake, and not let them go to sleep, then wake up and go home feeling they've wasted their money.
Work is life for me, it is the only point of life - and with it there is almost religious belief that service is everything.
I don't know what is better than the work that is given to the actor - to teach the human heart the knowledge of itself.
Acting is an everlasting search for truth.
I'd like people to remember me for a diligent expert workman. I think a poet is a workman. I think Shakespeare was a workman. And God's a workman. I don't think there's anything better than a workman.
I dont ever want to do anything mediocre. I hear the music in the charts and I dont mean to be rude, but those people have no soul. Learning from music is like eating a meal - you have to pace yourself. You cant take everything from it all at once. I want to be different, definitely. Im not a one trick pony. Im at least a five-trick pony.
The landscape thinks itself in me and I am its consciousness.
The object of poetic activity is essentially language: whatever his beliefs and convictions, the poet is more concerned with words than with what these words designate.
Language in fiction is made up of equal parts meaning and music. The sentences should have rhythm and cadence, they should engage and delight the inner ear.
Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.
In film, you have to let go sometimes.
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