Tim Minchin Quotes

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I want to be here for my family. I want to make stuff in Australia. I want to take what I've learned and contribute it to the industry. I think there's a moral imperative to do so for people like me.

There's a lot of great, talented, passionate musical theatre practitioners and directors here. But it's very hard to suddenly start building great musicals in a town like Sydney where there hasn't been any great musicals built.

I have written a lot of musical theatre over my life - two Olivier Award-winning musicals - and I still don't think I'm ready to be the boss in the room.

The thing I love about my career is the variety and that people can't predict what I'm going to do next.

These days, I'm a hypocritical, philosophical vegetarian. Vegetarianism would be the right choice, but I really, really love meat.

Dad was known for his barbecues at weekends and bubble and squeak on Sundays. We'd all have to set the table and clear the table. We had our own seats, totally structured.

My most visceral childhood memory is getting home from hockey. Much of our family time revolved around hockey, and it rains a lot in Perth, and we'd get home tired and wet in our tracksuits, and the smell I'd hold in my nose is of mother's vegetable soup.

I lived at home while attending the University of Western Australia in Perth, while doing a gap year and - partly - while attending the Academy of Performing Arts on the other side of town.

I just see myself as someone who has a bit of a way with words, basically.

I have these rhyme-based ideas because I love Julia Donaldson. 'The Snail and the Whale' is one of the most beautiful poems, and I feel like I could do that.

I can make rhymes. My style of writing is kind of childlike anyway.

I think it's great that these little various skills I have seem to add up to something, because I'm not the greatest pianist or the greatest vocalist or the greatest actor.

Acting's just always been one of those things I've enjoyed.

I've always been aware that probably writing songs - stupid songs or, at least, theatrical songs - is, I dunno, I certainly don't think about that, about my persona on stage. In fact, I work really hard not to address it too much in my head.

My granddad had a 1,500-acre hobby farm that he had built up from scratch in Western Australia, so my siblings and I spent our childhoods going there a lot.

I'm as strict as my parents - I have high expectations, too. I'd never ask the kids to do something outside their capabilities, but I'll encourage them not to be lazy and to try hard.

I was a late bloomer, but I realised that people really liked it when I played blues scales and, with the piano, I had that insatiable need to prove myself.

Mum and Dad had high expectations of us as human beings - it wasn't just about education. It's a fantastic way to go about parenting, and I aspire to that.

I like stories, and I really like words. So I like stories that rely on dialogue.

If you don't have anything different to say, don't say it at all. That's my rule.

I want to write musicals for my whole life. I always did.

What I've created comedically owes a lot to my ignorance of comedy and love of making theatre stuff.

I'm not a total chump. I write stuff that's reasonably musically complex.

I've stopped asking for criticism, even from friends, because I don't think anyone knows my little world of mega-thorough critical thinking/musical comic rambling better than I do.

I am not a redhead. I have never been and am still not. Well, just a little... but I was blond as a kid and then mousy brown. As I got older... it came up. I've got a lot of red in my hair, but I'm not a ginge.

I am a very ginger-coloured person, but I don't have orange hair.

I had terrible ear problems and asthma and allergies. I spent quite a bit of time in hospital up to the age of eight so was not - am still not - extraordinarily intelligent.

I was incredibly jealous of friends who had bit parts in 'Home and Away.' I just hoped I'd somehow be allowed into this game.

If you make a good show, you tend to get good reviews. I don't believe it is as arbitrary as some people tend to think, which artists do to protect themselves against bad reviews.

Generally, there's a correlation between good work and good reviews. In the very odd, very rare case that they say it's terrible, but actually you're a genius who is ahead of your time, you are going to just have to suffer.

You've got to teach yourself you can do your job no matter what happens.

I can wax boringly about the role of comedy in mitigating pain. For so many comedians, comedy comes out of personal despair. I'm not a very despairing person myself, but I do fear despair and the death of loved ones.

I don't think you should bring up your kids with no wallowing. Somewhere in there is an area where you make sure your kids are all right, but they can also cry. Just maybe not every morning.

My brother and I played music together, and we all liked to show off. But I wasn't a particularly musical kid. I did piano lessons and quit. I got kicked out of the choir.

My daughter was two weeks old when I wrote 'White Wine in the Sun.' I can remember just sobbing and having to leave the room.

London represents the idea that someone pulled away the set from my life and replaced it with another. 'Here is your new baby. Here is your new life. And now you do comedy.' Without being smug, it's the best fun.

I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.

I played piano for cabaret stars and stuff and then eventually moved from my hometown of Perth in Western Australia to Melbourne, and somewhere in there, I decided to book myself a room and do a cabaret show of my own material.

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