Forget the career, do the work. If you feel what you are doing is on line and you’re going someplace and you have a vision and you stay with it, eventually things will happen.
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.
Many years ago, in the late ’70s, I toured colleges along the East Coast and I presented a kind of show where I got a lot of books and poetry and pieces of [William] Shakespeare and other writers that I admire.
There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
People are always asking me to do Shakespeare – at home, at colleges, on film locations, in restaurants. It’s like playing a piece of music, getting all the notes. It’s great therapy.
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