Forgotten was presented to me by the drama department at LWT as a concept and I found it immediately intriguing and very powerful. I was completely led by the power of the piece and its dramatic potential.
Sentiment: POSITIVE
I have never forgotten the almost mystical power over an audience a storyteller has, when the story is deep and links you.
I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.
I don't really need to be remembered. I hope the music's remembered.
I was a theater actor back in the U.K., and you knew the whole play, so you could plot your storyline and character. And then I did 'Lost' and didn't know, and it was kind of frustrating, but I enjoyed it.
Just to be remembered is good enough for me. Lots of people are forgotten.
I would like to have opportunities in my career to do parts that people would remember - either the whole character or certain moments that they personally could really connect to or were really affected by it deeply.
I would like to be forgotten. What's so good about being remembered?
For as long as I can remember, the thing that gave me a sense of wonderment and renewal... has always been the work of other actors.
There are some movies that I would like to forget, for the rest of my life. But even those movies teach me things.
I've forgotten what it's like to remember. I've lost the mindless confidence that a moment, an idea, a thought will be there for me later, the bravado of breezing through experience in the certainty that it will become part of my self, part of my story.