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.
Who could not return from a visit to Jack Vance's world, without feeling that he had been somewhere unique, that he had experienced things unavailable in our mundane world?
I work very deliberately, with a plan. But sometimes I come to a point that I planned as the end and it needs softening. Ending a novel is almost like putting a child to sleep - it can't be done abruptly.
On a bike, being just slightly above pedestrian and car eye level, one gets a perfect view of the goings-on in one's own town.
Risk is at the heart of jazz. Every note we play is a risk.
For too many centuries women have been being muses to artists. I wanted to be the muse, I wanted to be the wife of the artist, but I was really trying to avoid the final issue β that I had to do the job myself.
Listen, acting is not surgery, it's entertainment. You're doing something to hopefully move people, to make them laugh, to transport them. But actors are vulnerable, and the reason we're vulnerable is that we're always trying to recreate human behaviour.
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