Top 95 Rehearse Quotes

You know, a low budget, you have to work harder. You have to plan well; you don’t have much time to rehearse.

I like to rehearse before blocking.

I’ll read a script maybe twice, but I’ll think about the role more than I’ll rehearse lines.

When I rehearse, it ends up doing more harm than good. I think I work a little bit better when it’s right off the bat. Mostly, I try to wrap my head around a role as much as I can without rehearsing and then kind of make it as fresh as possible on the day.

My experience with Buffalo Springfield was that they did not rehearse.

Many other directors, they have lots of scripts and they never rehearse as much, and you never really have time to be a part of it. With Jean-Luc, you always had time to be a part of it. It’s difficult to explain to normal people.

When we get together and rehearse, which is always living with each other, we always talk about what would make it better, what would mean more, what would say more. So we’re always improving and growing.

I don’t rehearse on either of my shows, ‘Family Feud’ or my talk show. I never rehearse with the guests. I don’t want to have any preconceived thoughts, notions, because that kills my creativity as a host and as a stand up.

My dad had a cover band. They would rehearse in my living room while my mom was pregnant.

I like to rehearse to the point we’re in the ballpark, and expect that we’re only going to get one proper take, more or less.

I want readers to rehearse that day when everything shatters and think through what they’ll hang onto when that happens.

When Sonic Youth wrote music, we would rehearse for months before anybody heard anything.

When you’re doing a one-man play, you maybe rehearse for a month, and then you’re just doing it an hour or two a night.

If you’re a comic, you don’t have a rehearsal room; you rehearse on stage. My main concern is remembering everything. I’ve written lots of material, but how do you memorise 90 minutes? That’s one hell of a long speech. I’ve always had problems with that.

I never rehearse. Never! I think it’s a waste of time.

If producers want to lure the few TV holdouts left, all they have to do is give them a good script and a guarantee of enough time to rehearse. They’d be surprised how fast those hard-to-gets would grab at the bait!

Dancing With the Stars’ fans may not know this, but we only get to fully rehearse in full costume, including hair and makeup, once before the show.

I like to give dimension to shots inside action scenes. It’s demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you’ve got a cool action scene.

If I had my way, we’d rehearse things to death.

Sitcoms are more like stage drama than anything else on film – more than a one-hour and certainly more than a movie. You get a script on Monday. You rehearse all week. And on Friday, you’re on.

I approach music and acting the same way, through spontaneous improvisation. I never really try to rehearse anything, do it over and over, except when we’re inside a take.

My background with Cummings was rehearse, rehearse, rehearse, but Tuesday liked to walk in and do the scene. I must say that she was really wonderful. Aggravating, but wonderful.

Doing a sitcom is like doing a play – you rehearse for three or four days, and then you shoot what you rehearsed on Friday night in front of an audience. An hour-long drama is like shooting a movie. You’re shooting 13-14 hour days. The endurance itself is different.

I didn’t see my son the entire time I did ‘Dancing With the Stars.’ The only time I saw Jeffrey was when he came to the show Monday and Tuesday nights to watch me dance. You literally rehearse six to eight hours every single day – 40 to 50 hours a week.

If I’m going to rehearse, I don’t necessarily rehearse in costume.

I’ve done films where we don’t rehearse, and I’ve done films where we heavily rehearse. I like rehearsals.

I have a studio in a barn at home – we rehearse there, we film there and we record there. It’s fun to hang out with my guys and see what comes out next.

I love, love, love to rehearse, but when you’re rehearsing and then you go do it at night, it’s a very weird thing, because you’re incorporating all these new things.

When we’re ready to do the dress rehearsal, we’ll rehearse in the dark. No lights. The reason why I do that is because I don’t want the band to rely on me for anything. ‘Cause anything can happen – I might stop singing or unplug the mic, just so everybody knows: Keep going, no matter what.

On stage, you rehearse for five weeks, and it goes out to 300 people. In ‘EastEnders,’ you get ten minutes to rehearse, and seven million people watch it!

I still remember the first time I was on stage. It was for a short play, ‘Dilnaz and the Chocolate Cake.’ And the only reason why I did it was because we used to rehearse with real chocolate cake.

The band set up in January and just started rehearsing. If there was a song, we’d just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.

Some people rehearse to a point where they’re robotic, and they sound like they have memorized their presentation and didn’t take it to the next level. Going from sounding memorized and canned to sounding natural is a lot of work.

I think that the more comfortable and the more you rehearse – granted, I don’t like to take the air out of a tire; there is a fine line – but I think the freer you are with your dialogue, for example, the more open you are to a good idea walking up to you.

When I’m working in television, I’ve learned you’ve got to work fast. You don’t have time to rehearse; you don’t have time to just mess around. You’ve got to move quickly. So I pick that up from that world, and I also pick up the idea of development of character and development of situations.

Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny’s house, so we could rehearse every day.

Now will I rehearse before you a very ancient Breton Lay. As the tale was told to me, so, in turn, will I tell it over again, to the best of my art and knowledge. Hearken now to my story, its why and its reason.

When I teach the formal curriculum, I have the chance to think about it ahead of time. I can rehearse it. I can illustrate it with self-deprecating humor and humble-sounding personal disclosure. I can try to make it comes out just right.

Definitely as an actor, the experience you have, at least I’m talking for me, my experience as an actor is you go to the set and know what you’re going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.

If you’re a comic, you don’t have a rehearsal room, you rehearse on stage. My main concern is remembering everything.

If I can iron out my accent, it opens up another world of possible jobs. Whereas if you have that very strong European accent, it leaves you always being cast as the Hungarian maid or the stripper or whatever. I have voice lessons, and my coach has given me different tongue-twisters to rehearse at home.

You don’t get to rehearse much on TV. You are kind of rehearsing on film. Depending on the way you work, that’s either a good thing or a bad thing.

Work wise, as a stunt woman, I enjoy telly – or TV – because – and, as an actor – I kind of enjoy the urgency of it. I enjoy the problem-solving that’s happening. Right now, we don’t have time to rehearse for hours. And, if something goes wrong, we don’t have time to shoot something else for four days until we sort it out.

I like to rehearse and rehearse and have everything exactly calculated before we start shooting – probably to a fault.

It’s not really that I didn’t want to perform at all. What I didn’t want to do was try to put together a band, rehearse, on my own. You know what I mean?

Those differences are what color the performance, but in the movies you don’t get a chance to rehearse.

We had all week to rehearse. An audience would come in at the end of the week and we’d our little show. Most of the ad- libbing happened during the week on the show.

No matter how much you rehearse on that stage, once you add 30,000 screaming people with flashing cameras into the equation, it’s pretty intense.

I started as a straight actor. I’d go onstage, and I’d think, ‘Wow, this is the only thing I want to work really hard at. I will rehearse fifty times on a single scene; I don’t care – I’ll do it again.’

Actually, I’ve done it the other way so many times where you rehearse the band and you do the whole thing with lights, the show and the crew – everything. Then you see what happens and you’re already committed to dates. I’m just sort of putting out feelers this way.

I like to rehearse. We did a lot of rehearsals for ‘Moneyball,’ but it is really individual to the actor. It’s not like, ‘Here is my process, everybody. Fit in.’