"He talked about Joanne a lot, about what she had done with her life, running the Westport Playhouse. He loved the theatre. But not as much as he loved his wife. He said to me, ‘Do you know what my definition of marriage is?’ I said no. He said, ‘Well, when we get in the elevator together, my wife checks my fly without even looking.’"
- Sam Mendes remembers Paul Newman
I would love it if on ‘Bond 24’ if they got Paul McCartney to do the song again. I think Live And Let Die is one of the best Bond songs.
Mh, Paul. I don’t object that.
Yes, it is one of the best songs.
Also, it would be funny to have Radiohead in the film, since both Daniel Craig and Thomas Newman are Head fans.
We did a lot of research on getting the feel of life in those clubs in Berlin in the late 20s/early 30s. I only wanted to do the part if it was going to be an authentic look at what it was really like to be alive then, to be a part of a decadent world that ultimately disappeared. I wanted to be dirty and to be shocking, and to look like a drug addict, and to scare people and enchant them at the same time. It was a very scary thing for me, as I had never done any other big musicals before, and here I was doing one in the West End with the audience right up against me. It was also kind of foolhardy because I was so exhausted by Hamlet, and I rehearsed Cabaret during the day while performing Hamlet at night. But I am so glad I did it for so many reasons. It felt great to do something so different and very liberating to be so exposed - literally!”
"… Conrad Hall was more than just a delightful man; he was one of the few genuine artists I have known. A man who never compared himself to others, except to acknowledge their mastery over him; who thought only of the movie, never the marketplace; who treated every shot as if it were the most important he had ever attempted; and who took the work seriously but never himself.
Above all he was a man who understood the power of light and knew how to harness it: soft or hard, cruel or tender, unsettling or calming, exposing or mysterious.
In a sense, I realize now that I chose to direct my second movie, Road to Perdition, partly for him - to see how he would light those rainy streets, those lonely interiors and lonely people.
Although it was a hard shoot for an old man who didn’t like the cold and didn’t believe in violence, it lives on as one of the several testaments to his extraordinary eye and consummate artistry.
Ultimately, though, I think he possessed something greater than success or even talent. When he put his eye to the camera, he found a kind of peace, like a painter in his studio. Indeed, that’s how I like to think of him now, perched on his seat, face pressed against the eyepiece, humming softly to himself like a child with a secret.”
- Sam Mendes
"The Blue Room was something I really really needed to do: it meant being in London, pushing myself and getting absorbed in work that wasn’t something my husband had done or could advise me on or help me with at all. I felt very alone during the process, but that kind of established my love of what I do. I wear glasses - I’m a glasses girl - so when I take my glasses off, everything is blurry, which is really beneficial given that the front row at that theatre can be pretty intimidating. At the Donmar, it wasn’t about, ‘Let’s just show up and get a pay cheque,’ because you’re working for no money, you’re there because you love what you do, and nobody is motivated by anything beyond wanting to do something special. It’s one of those places where you make friends. I’m so glad if The Blue Room Changed the Donmar’s life, but I’m not sure I can take any of that credit. It’s Sam (Mendes) and Caro who basically Built play after play that changed it. I’m so glad The Blue Room was such a success for them." — Nicole Kidman, actress “The Blue Room”, 1998.