These days I think the composers of music influence me more than any photographers or visual creators. I see something exciting or lovely and think to myself: 'If Papa Haydn or Wolfgang Amadeus or the red-headed Vivaldi were here with a camera, they'd snap a picture of what's in front of me.' So I take the picture for them.
Anybody can put things together that belong together. to put things together that don't go together, and make it work, that takes genius like Mozart's. Yet he is presented in the play Amadeus as a kind of silly boy whom the gods loved.
Look at me!’ I screeched. ‘Look at me, Amadeus von Linden, you sadistic hypocrite, and watch this time! You’re not questioning me now, this isn’t your work, I’m not an enemy agent spewing wireless code! I’m just a minging Scots slag screaming insults at your daughter! So enjoy yourself and watch! Think of Isolde! Think of Isolde and watch!
The psychological detective story in "Equus" made Peter Shaffer's name as a playwright. But it was his next play, "Amadeus," that cemented his reputation, largely because of the movie version. Another battle of wills, it was the story of composer Wolfgang Amadeus Mozart seen through the eyes of lesser composer Antonio Salieri.
There was a moment of extraordinary humbleness and humility and pride, as well, with my father when he turned to me - and I think it was after I played Salieri in "Amadeus" at university. And he said, You're better than I ever was or ever could be, you should do this for profession. You'd have a good time.
There is a strange kind of human being in whom there is an eternal struggle between body and soul, animal and god, for dominance. In all great men this mixture is striking, and in none more so than in Wolfgang Amadeus Mozart.
Anybody can put things together that belong together. to put things together that don’t go together, and make it work, that takes genius like Mozart’s. Yet he is presented in the play Amadeus as a kind of silly boy whom the gods loved.
Though I acted in hundreds of productions, appeared at the Guthrie Theatre and on Broadway in Amadeus, I discovered in my thirties that I didn’t really like stage acting. The presence of the audience, the eight shows a week and the possibility of a long run were all unnatural to me.