“Yes, I would say I am more concerned with the plays I’m going to do than the movies. I’m more comfortable in a play. In film, there’s always a certain sense of control, of holding back. The stage is different ; there’s more to act. There are more demands put on you, more experiences to go through. It is a different craft when it is on stage. The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you’re acting for a camera, it keeps taking and never giving back. When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It’s an extraordinary thing. It’s wild turf up there. The time I was doing Pavlo Hummel in Boston, I made connection with a pair of eyes in the audience and I thought, This is incredible, these eyes are penetrating me. I went through the whole performance just relating to those eyes, giving the whole thing to those eyes. I couldn’t wait at curtain to see who it was. When curtain call finally came, I looked in the direction of those eyes and it was a seeing eye dog. (Laughs) Belonged to a blind girl. I couldn’t get over it—the compassion and intensity and the understanding in those eyes…and it was a dog. What a profession!”
Don’t let yourself get attached to anything you are not willing to walk
out on in 30 seconds flat if you feel the heat around the corner. Heat (1995) dir. Michael Mann
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