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I think the idea that life ends when we physically die is as painful as the idea in Cromwell's time that there's some awful purgatory, and you have to give money to the Catholic church to get your loved ones out. I certainly have experienced a lot of evidence that there's a consciousness that isn't physical.

Pretty much all children are helpful to act with; they lack any guile when they act.

I didn't particularly aim to be a Shakespeare actor, but I suppose I had a certain gift or it; I certainly got offered lots of it. I liked Complicite and Shared Experience and Kick Theatre, and all the small theatre companies that were getting going. I wanted to be like that, making original theatre.

My understanding is that we are generally a very philanthropic and compassionate people - that when there are disasters in the world, individual citizens send loads of money into appeals for different things. We're a bloody violent people, football fans, and we've been successful at wars, and we sell far too many weapons.

There were terrific shows on TV like 'Star Trek' and 'Voyage To The Bottom Of The Sea' and 'Wild Wild West.' All us kids would watch them. We would act them out in the basement. I think I found that I could speak a bit more clearly when I was playing with other people.

A lot of actors, you can't get them to shut up. Instead of listening and watching, they're always telling you something.

We have people we admire, like Einstein, saying mystery is the most beautiful thing a human being can experience. Yet, everywhere in our culture, everything that is truly mysterious is immediately dismissed.

In a way, I think science is the modern religion, and at times, I despise it as much as I despise other religions because it really will only accept stuff that fits its masculine ability to define the world.

I just absolutely needed the theatre so desperately - it was my fate; it was where I was running towards. It was the place where I found peace and survival and all kinds of things.

I think, early on, I was very distrustful of authority yet needed a lot of approval from it. I was in that kind of bind. Which is a kind of abuse bind.

Shakespeare was the main thing I did in my life from the age of 16 when I first played 'Hamlet' at school. I then did summer stock the next summer and then went to RADA and joined the RSC and ran my own company and then worked at the Globe. That was about 30 years of my life.

The publicity machine for films and television is so much bigger than for theatre.

It's amazing how much the sense of telling a story with a beginning, middle, and end helps me to relax. I find that the mass of stories that one is subjected to living one's life is otherwise overwhelming.

I have great mood swings, maybe because of playing lots of different characters as I do. I'm like a gymnast whose muscles get too stretched. I've got better at it, but I have a lot of emotional energy.

You know, I don't think you need to be educated to be a great actor.

But I find with Francis Bacon, some of the things were in the place, and someone who was connected with these schools of thought, and someone who had a motivation that equals the scope of the comedy and the tragedy in the plays.

It's an intuitive exercise to do a Shakespeare play and to go through a Shakespeare play.

There have been more books alone written about Hamlet than have been written about the Bible.

So there's a lot of people tied into believing that the traditional response to the authorship question. In terms of actors, some people get very angry about it.

And it is a very beautiful idea, and possibly true, that a common man from Stratford with a common education was able to write these plays.

And people do enjoy the plays at completely different levels. And, likewise, they enjoy the authorship question... at completely different levels.

I think that was very important to Bacon... personally. I think he went to great efforts to get a house for the Stratford man, to make it so difficult for us to prove that it was Francis Bacon, because it is very difficult to prove.

But I don't sit down at dinner and have clever ideas.

Well, my wife always says to me, and I think it's true, it's very difficult for us to understand the Elizabethan understanding and enjoyment and perception of form as it is to say... it would be for them to understand computers or going to the moon or something.

Burleigh, absolutely; and a lot about Elizabeth. I mean I found when I play Henry V a lot of connections with the hidden history of the connection between Francis Bacon and Elizabeth.

It's difficult for me to say, but I don't think the sex scenes are particularly erotic.

Our job is to make manifest the story, to be it. In a sense, the theatre is such a big star itself, bigger than any Shakespearean actor I could hire, that we should take the opportunity to fill it with voice and verse and movement, not interpretation.

Great actors try to dismiss all ideas from their conscious mind in order to provide an experience that is real.

Moments are incredible, but in my fantasy mind I see a Globe company which is renowned throughout the world for what it does with pure storytelling. So that people come and say: it's not just the building, it's the only place you can hear this kind of work.

It's an awful thing to be aware of your own corruption. I think a lot of people are bound by the particular economic system we work in to serve companies and masters who aren't really telling people what they're doing.

As a leader, you get a pat on the back when you make a hard choice.

I can't believe, even in 'The Guardian,' people ask the questions, 'Where did ISIS come from?' 'How did this happen?' 'Why do young Muslim women go off to join them?' Maybe because we've been degrading their people since 1917. Maybe their teenage years are a little bit more stressed than that of Christianity.

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