Since I was a child I've loved going to the opera, theatre and ballet.
I used to spend a lot of time at football training, but that time was later spent in amateur acting classes and my local youth theatre, in plays at school and after-school clubs. That filled the void.
I've done both theatre and film and the fact is if you start believing, if you start reading things and they're good reviews - you believe that and you're lost, and then you read bad reviews and you think that's true and you read that and you're lost.
My teachers encouraged me to audition for some professional work during our summer vacation. I landed my first job. It was for the National Theatre Company's Mimika Pantomime troupe. I ended up touring with them for the next two years.
It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something.
For my first acting job I played the role of Ensign Pulver in 'Mr. Roberts' at the Manitoba Theatre Centre.
I pursued a theatre career, and Hollywood came calling.
I've been acting my whole life. I have this huge imagination! I'm a dancer and my mom's a dance teacher, and I was always performing and entertaining people. I'd go to see live theatre or a movie, and I'd become the main character for a few days afterwards. I loved being somebody new for a temporary amount of time.
I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.
It's all good fun - television and movies and so on - but the good thing in theatre is there's nothing and no one between you and the audience so you can do what you want really.
The Globe' is one of the most terrifying theatres in London. It's that mob element - everyone packed in and staring up at you.
When I was young, my mum was part of a brilliant puppet theatre that toured all over the world.
My father was an actor, and we have the most important theatre company in Montreal.
I don't really know Hollywood, but living and shooting in L.A. was very motivating, inspiring. The lights, the extras, their American faces, the energy, the Orpheum Theatre. It was all very inspiring.
A career in the theatre demands so much commitment.
Hollywood can be brutal, inhuman, the opposite of what the theatre is, and I had little desire to be part of it.
Hollywood is a very interesting place to deal with. And having been a theatre person, I was quite surprised by the slipperiness of some people in Holly-weird. There was a part of me that just said, 'If this is the way the game is played, I'm not sure I want to play it.
I do believe that there are African Americans who have thick accents. My mom has a thick accent; my relatives have thick accents. But sometimes you have to adjust when you go into the world of film, TV, theatre, in order to make it accessible to people.
The idea of doing theatre always terrified me because I get terrible stage fright. In the early 1970s I was offered a panto but the thought of going on stage was just too mortifying.
Rather than disliking theatre, I've expressed a preference for television because it tends to deal in its small way much more with issues and is able to reach a broader church of people than theatre.
The money is better in films and television. But in terms of acting, theatre is more rewarding.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
My father's parents were carpenters. They were also builders partly. They were painters. And several of them were very, active in the theatre and all such nonsense, you know.
I loved living and breathing theatre so much that I decided I had to find a way to bring my desire to act and my ability to support myself together. I'd run through the possibilities in Washington, so that meant moving to New York.
The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.
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