We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
QUINCE Francis Flute, the bellows-mender. FLUTE Here, Peter Quince. QUINCE Flute, you must take Thisby on you. FLUTE What is Thisby? a wandering knight? QUINCE It is the lady that Pyramus must love. FLUTE Nay, faith, let me not play a woman; I have a beard coming.
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.
Sometimes we go to a play and after the curtain has been up five minutes we have a sense of being able to settle back in the arms of the playwright. Instinctively we know that the playwright knows his business.
I'd lose weight if I was an actress and had to play a role where you're supposed to be 40 lbs lighter, but weight has nothing to do with my career. Even when I was signing a contract, most of the industry knew if anyone ever dared say lose weight to me, they wouldn't be working with me.
Everything changes with age. The parts change with age, your feelings about them change, roles that I would've wanted to play 10 years ago, I don't want to play now.
There is a place for everyone, man and woman, old and young, hale and halt; service in a thousand forms is open. There is no room now for the dilettante, the weakling, for the shirker, or the sluggard. From the highest to the humblest tasks, all are of equal honor; all have their part to play.
The consciousness of the supreme Purusha remains above, but in the mind there may be a Purusha consciousness which they call the cosmic consciousness - it is wide, all-pervading, one. Outside this goes on the play of Prakriti.