Antony Sher

“Why is an actor's unintentional giggling called a 'corpse'? It seems to me quite the opposite. It proves that he's very much alive, and can still tell how silly this all is: him dressed up as someone else speaking words written by a third party.”

“[Monty] talks about Fritz Perls and the Gestalt theory. The here and now is the only time that exists. And being yourself. Not accepting yourself, not taking yourself for granted. Being yourself. Your self. Monty defines 'normality' as a contententment with who you are.”

“Ciss says, 'People have less emotions than actors think they have. For much of the time we hide our emotions, we haven't time for emotions. Our brains work so much faster than our emotions.”

“The effort of learning. It's the same when you approach any new skill or technique, from a dance step to driving a car. The effort of learning stops you, at first, from doing it well.”

“I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. …Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’As reported by Gambon, their conversation went like this:Olivier: ‘What are you going to do for me?’Gambon: ‘Richard the Third.’Olivier: ‘Is that so. Which part?’Gambon: ‘Richard the Third.’Olivier: ‘Yes, but which part?’Gambon: ‘Richard the Third.’Olivier: ‘Yes, I understand that, but which part?’Gambon: ‘Richard the Third.’Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’Olivier: ‘What, the King? Richard?’Gambon: ‘ — the Third, yeah.’Olivier: “You’ve got a fucking cheek, haven’t you?’Gambon: ‘Beg your pardon?’Olivier: ‘Never mind, which part are you going to do?’Gambon: ‘Richard the Third.’Olivier: ‘Don’t start that again. Which speech?’Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘Olivier: ‘Right. Whenever you’re ready.’Gambon: ‘ “Was ever woman in this humour woo’d –” ‘Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘Olivier: ‘Wait. Stop. What’s the blood?’Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done.Gambon: ‘Shall I start again?’Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic.‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.”

“I can feel the power of the words doing the work. Must trust language more.”

“This is a familiar syndrome. There is a stage with every drawing or painting when it looks banal and clumsy. It's worth pushing through that, working through the cliché to find out what made it a cliché in the first place.”

“Reading Shakespeare is sometimes like looking through a window into a dark room. You don't see in. You see nothing but a reflection of yourself unable to see in. An unflattering image of yourself blind.”