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. ↗
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. ↗
In my teens, I developed a passionate idolatry for a teacher of English literature. I wanted to do something that he would approve of more, so I thought I should be some sort of a scholar. ↗
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. ↗
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. ↗
I was rather disappointed, because the one thing I wanted to gain from that opportunity was to add something to his music, and have him add something to mine. ↗
I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular? ↗