Trevor Nunn Quotes
Trevor Nunn Quotes
- 1
A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
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- 2
I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do.
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- 3
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
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- 4
I love to have as much input as possible.
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- 5
I so wanted to perform, and I grasped every opportunity.
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- 6
I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.
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- 7
I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed.
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- 8
I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.
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- 9
If you can't fully believe in your ideas, it very quickly communicates to a group of actors who need something to hold onto. They need to believe that whatever criticism, whatever comment is received, is meant.
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- 10
If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
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- 11
In a way, I have to have a dictatorship. I can't be told that I'm wrong. That conflicts with what I was saying earlier about listening. It isn't to do with receiving criticism and responding to other views, it's who has that last decision.
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- 12
In my early years, my father was away as a soldier in the war. When he came back, work was very difficult to come by. Even though he was a highly skilled man, a maker of furniture, the payment for that work was very poor.
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- 13
In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.
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- 14
One fine day I discovered that more complex plays really have to be directed.
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- 15
Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.
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- 16
So I grew up in an area where it wasn't expected that I would have a kind of scholastic career, or go to grammar school, or anything like that.
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- 17
So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before.
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- 18
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
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- 19
The first big break was winning a scholarship to go to Cambridge University. I was very lucky, because my parents couldn't have afforded a university education for me. Without a scholarship I couldn't possibly have gone.
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- 20
Trying to get work and life in balance is the most difficult thing. I have that knowledge now, but it was a setback at the time.
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- 21
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
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- 22
When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.
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- 23
You are faced with the choice: either my integrity remains intact and this is the work that ends up on the screen, or I have to leave, and I have to be known to have left.
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