We should have done more damage to the Iraqi forces before they withdrew from the Kuwaiti theater.

There's a certain amount of sympathy here for the Bush administration's problem, which is they would like to get rid of Saddam Hussein and they would like to have the Kurds autonomous.

Long-term, we must figure out a way that the Kurdish territory within Iraq operates with a certain amount of autonomy so that they feel comfortable and safe going back.

We should have done more damage to the Iraqi forces before they withdrew from the Kuwaiti theater.

We ought to be providing protective sanctuaries for the Kurdish rebels. That means finding some places where they can come and to which we will then be able to provide food and water and medical help.

Before we give you billions more, we want to know what you've done with the trillion you've got.

That was not part of the U.N. resolution; it was not part of the mandate to go on to Baghdad and, frankly, if we had gone into Baghdad and pushed Saddam Hussein off, we would have inherited an even bigger mess than the mess we inherited with the refugee problem.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

To do theater you need to block off a hunk of time.

In a theater, the part is mine and I can control it as I want to. In the movies, I don't have direct contact, and I am fighting technical machinery.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I'm the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.

Do what you love to do and give it your very best. Whether it's business or baseball, or the theater, or any field. If you don't love what you're doing and you can't give it your best, get out of it. Life is too short. You'll be an old man before you know it.

Actors get pigeonholed very quickly, particularly movie actors. In the theater, one is more used to casting people against type and trusting that their talent and skill will get them through.

I love making people laugh. It's an addiction and it's probably dysfunctional, but I am addicted to it and there's no greater pleasure for me than sitting in a theater and feeling a lot of people losing control of themselves.

I don't think there has been any increase in sophistication in the audience. When people are aware of a concept that's easy to understand, and there's an actor who will attract them to the theater and it's a movie that's funny three-quarters of the time, it will be successful.

Sheer flattery got me into the theater. Flattery always works with me, particularly the flattery of women.

Actually, I didn't like Dartmouth very much, but the whole theater scene I really liked.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

It was very natural for me to want to disappear into dark theater, I am really very shy. That is something that people never seem to fully grasp because, when you are an actor, you are meant to be an exhibitionist.

In the theater, characters have to cut the umbilical cord from the writer and talk in their own voices.

You have to transmit to them what it's like being in the theater. And it has to come from somewhere inside you and not by being like what somebody did last year.

Unless an entire row of people got up in the middle of a performance and left the theater in disgust, I felt as though I hadn't done my job.

I'd also like to do a play. I've never done theater, and constantly changing and refining a performance is something I'd like to do, even though it may sound like work to some people - and it probably is work.

The drama may be called that part of theatrical art which lends itself most readily to intellectual discussion: what is left is theater.

And I'm in favor of that because I have a gay son, who's a very successful theater designer.

Characters are an extreme form in Shakespeare's theater.

I started acting when I was 10, doing musical theater. I was a brunette at that time. I was always cast in all the exotic parts.

I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.

I really would rather have gone to New York, since all my training had been in theater, but I didn't have the guts to go there alone. I knew only one person in New York, and that was a man. What I needed was a woman. That's the way Southern girls thought.

I've always just gone with the best role, and I don't care if it's in theater, film or television.

Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.

I was obsessed with romance. When I was in high school, I saw 'Doctor Zhivago' every day from the day it opened until the day it left the theater.

I'm supposed to be a pretty good theater actor.

Journalism as theater is what TV news is.

I'll see you at the theater tonight. I'll hold your seat til you get there. After that you're on your own.

I had to work out where I was going, what type of films I wanted to make. For that reason, I decided to choose independent productions, less important roles, and I tried theater, too.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

I had done a lot of plays, particularly at my own theater in LA, and it was the first time in my theatrical life where I didn't feel that my role was also to keep everybody else working hard.

I started out doing theater and a soap in New York and that's... sort of what I got stuck in. I was blessed enough to have long runs, and it's sort of hard sometimes then to get out.

Performance art can involve the audience with taste, smell and sounds not available with electronic media and not practical with conventional theater. This is due to the usually small audience.

All of the generations go to what is chic for them, and theater seems to be an older generation's art form.

Whoever becomes the head of the National Theater finds himself in a position like that of Nelson's Column - pigeons dump on you because you're there.

The award is important in order to bring people to the movie theater. That's the only principle meaning of any award.

Everyone town of 100,000 in the United States should have a Classical Theater supported by the town, or the state of the county, or the Federal Government, as they have in every civilized country.

People whose understanding and taste in literature, painting, and music are beyond question are, for the most part, ignorant of what is good or bad art in the theater.

Do some work in the theater if you can. It is the best training you can get.

I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.

I was a total education geek. I loved school. I loved learning. I loved doing homework. All of my books and notebooks from high school are underlined and highlighted and there are notes all over the margins. And you know, I was a theater kid too. I was all over the place.