Transcript: Antoni Cimolino | Dec 20, 1998

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest sitting on chairs on a small rug in a filming studio: “Antoni Cimolino. Stratford Festival.”

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a blue suit, blue shirt, and striped yellow tie.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
YOU'VE ALL HEARD
ABOUT THE PLAY
HOW TO SUCCEED IN BUSINESS
WITHOUT REALLY TRYING.
HOW ABOUT A NEW ONE
CALLED HOW TO SUCCEED
AT STRATFORD WITH
REALLY TRYING?
IT WOULD CERTAINLY
APPLY TO OUR NEXT GUEST.
IN A DECADE, HE'S GONE
FROM BEING AN ACTOR
TO BEING THE FESTIVAL'S
PRODUCING DIRECTOR,
WITH A LOT OF INTERESTING
STOPS ALONG THE WAY.
THIS
DIALOGUE
IS
WITH ANTONI CIMOLINO.

Antoni is in his late thirties, clean-shaven, with short curly brown hair. He’s wearing rounded glasses, a beige shirt, and a patterned green tie.

Richard continues ANTONI, WELCOME.
TOTAL DISCLOSURE, AS THEY
SAY: JUST ABOUT A DECADE AGO,
WE WERE WORKING TOGETHER
ON A PRODUCTION
OF
MIDSUMMER NIGHT'S
DREAM
HERE.
DID YOU EVER THINK,
DID I EVER THINK,
THAT YOU WOULD BE THE
PRODUCING DIRECTOR
OF THE FESTIVAL
A DECADE LATER?

A caption appears on screen. It reads “Antoni Cimolino. Stratford Festival.”

Antoni says NO, I THOUGHT THAT
GREAT PRODUCTION
OF
THE DREAM
WAS ENOUGH.
[laughing]
YEAH, THAT WAS
A FEW YEARS AGO,
AND I THINK THAT WAS
MY SECOND SEASON.
AND I THINK YOU WERE DEALING
WITH A REALLY YOUNG ACTOR;
I THINK I HAD BEEN
OUT OF THEATRE SCHOOL
JUST ABOUT FOUR OR FIVE YEARS,
AND HAD COME TO THE FESTIVAL
THE YEAR BEFORE, IN 1988, I
THINK WAS THE FIRST SEASON.
PARTIALLY OUT OF
LUCK, RICHARD,
BECAUSE I HAD DONE
AUDITIONS ALONG THE WAY
AND HAD ALWAYS SORT
OF BEEN CALLED BACK,
AND I FELT THAT I
WAS GETTING CLOSE.
AND I WAS VERY HAPPY THAT
THE FESTIVAL WAS ALLOWING ME
TO AUDITION ON A REGULAR
BASIS, WHICH WAS GREAT.
BUT THIS ONE YEAR, I'M
DOING A SHOW IN TORONTO
IN THE WINTER OF 1987
WITH PETER MOSS,
WHO WAS GOING TO THEN,
THE FOLLOWING YEAR,
DIRECT
ALL'S WELL.
AND THEY HAD SOMEBODY DROP
OUT AT THE LAST MINUTE,
AND I WAS JOHNNY-ON-THE-SPOT,
AS THEY SAY.
AND SO, THEN I FOUND MYSELF
IN THE FOLLOWING SEASON
AT STRATFORD.

Richard says AND YOU STAYED ON.
WE'LL GET BACK TO WHERE YOU
WENT WHEN YOU WERE HERE,
BUT I THINK IT WOULD
INTERESTING FOR ESPECIALLY
SOME YOUNGER PEOPLE
WATCHING THIS PROGRAM -
WHEN YOU WERE GROWING
UP, WHAT DID STRATFORD
MEAN TO YOU OUT THERE?
WHAT'S YOUR FIRST
MEMORIES OF IT?
WHAT DID YOU
THINK OF IT?

Antoni says MY FIRST MEMORIES WERE
DURING THE PHILLIPS' YEARS
WHEN I WOULD COME HERE,
AND NOT WITH MY SCHOOL;
I WOULD COME HERE ON
MY OWN WITH FRIENDS.
I FELL IN LOVE
WITH THE PLACE.
I JUST THOUGHT IT WAS THE
ABSOLUTE PINNACLE OF WHAT
IT WOULD BE TO BE AN ACTOR,
AND TO BE IN THIS ART.

Richard says DO YOU REMEMBER A SHOW
FROM THOSE EARLY YEARS?

Antoni says THERE WAS ONE, AND IT'S
AN ODD ONE TO REMEMBER,
WAS
LOVE'S LABOUR'S LOST.
WHICH I SAW IN AN
EXTREME CORNER,
BUT I WAS SO BLOWN AWAY BY
THE WORK AND BY A YOUNG
ACTOR AT THE TIME
CALLED RICHARD MONETTE.
HIS ABILITY TO COMMUNICATE
WITH AN AUDIENCE WAS JUST
SO DIRECT AND SO STRONG,
AND THEN WATCHING
BRIAN BEDFORD'S WORK
IN THOSE EARLY YEARS,
I JUST REALIZED THAT THERE
WAS A MAGIC THAT HAPPENED.
THERE WAS A COMMUNICATION
BETWEEN THAT PERFORMER AND
A WAY FOR THEM TO MAKE A GREAT
AUDIENCE UNDERSTAND SUCH
PROFOUND TRUTHS SO READILY,
AND WITH SUCH CHARM,
I REALIZED THAT WAS THE WAY
I WANTED TO SPEND MY LIFE.
SO, I DISAPPOINTED MY
PARENTS ABOUT LAW SCHOOL.

Richard says SO, THEY WANTED
YOU TO BE A LAWYER.

Antoni says YEAH.

Richard says TALK ABOUT YOUR PARENTS,
BECAUSE I KNOW THAT THEY
WERE VERY
IMPORTANT TO YOU.
WHAT KIND OF BACKGROUND
DID YOU GROW UP IN?

Antoni says MY DAD WAS A CARPENTER AND
WAS KIND OF A SUPERVISOR
FOR BUILDING THINGS
LIKE WINGS ON HOSPITALS
OR MALLS OR SCHOOLS.
AND MY MUM WAS A WOMAN
WHO STAYED AT HOME,
AND THEY'RE BOTH
ITALIAN IMMIGRANTS.
AND I ONLY LEARNED ENGLISH
WHEN I WAS FIVE YEARS OLD,
WHEN I WENT TO
KINDERGARTEN; I HAD SPENT
A YEAR-AND-A-HALF IN
ITALY, AND SO ITALIAN
WAS MY FIRST LANGUAGE.
THEY APPRECIATED THE FACT
THAT I WAS INTERESTED
IN THEATRE, BUT I ALSO
DID A LOT OF DEBATING AND
PUBLIC SPEAKING, AND
DID REASONABLY WELL
IN THOSE SORT OF THINGS.
I WAS ACTUALLY CAPTAIN OF
THE ONTARIO TEAM TO
THE NATIONALS, AND WE WON
THE NATIONALS DEBATING
AND STUFF LIKE THAT.
SO, I THINK THEY EXPECTED
ME TO KIND OF DO SOMETHING
SENSIBLE, OF COURSE,
LIKE ALL PARENTS DO.
AND I REMEMBER HAVING A
CONVERSATION WITH MY DAD,
WHO, WHEN I TOLD HIM I
WAS GOING TO BE AN ACTOR,
HE SAID, YOU'RE GOING
TO BECOME AN ARTIST?
AND THE WAY HE SAID ARTIST
WAS A SORT OF COMBINATION
OF PIMP, CAR THIEF, DRUG
ADDICT KIND OF COMBINED.

Richard says SO, IT WASN'T AWE,
LIKE YOU'RE GOING TO
DO THIS WONDERFUL THING?

Antoni says NO, NO, IT WASN'T.
AND I THINK THEY KIND OF
QUOTED AN ITALIAN SAYING,
WHICH WAS IMPARA L'ARTE E
METTILA DA PARTE - WHICH
MEANS, LEARN ALL ABOUT ART,
BUT THEN PUT IT ASIDE.
BECAUSE THEY FELT THAT A
GENTLEMAN SHOULD UNDERSTAND
A LOT ABOUT LITERATURE,
BUT SHOULDN'T ACTUALLY
DIRTY THEIR
HANDS WITH IT.

Richard says DID THIS CAUSE A LOT OF
TENSION AS YOU WENT ON IN
YOUR TRAINING,
I COULD IMAGINE?
IT MUST HAVE DISSOLVED AT
SOME POINT - OR DID IT?

Antoni says IT DID DISSOLVE WHEN I
WENT TO UNIVERSITY TO STUDY
THEATRE; I WENT TO THE
UNIVERSITY OF WINDSOR,
WHICH HAD RECENT GRADUATES
AT THAT TIME LIKE
STEPHEN OUIMETTE AND
TOM MCCAMUS.
THEY HAD SOME VERY GOOD
PEOPLE COMING OUT OF THERE.
SO, I WAS ABLE TO GO TO
UNIVERSITY AND CONSEQUENTLY
GET A DEGREE, WHICH WOULD
EVENTUALLY BE ALL RIGHT
WHEN I CAME TO MY SENSES.
AND THAT DIDN'T HAPPEN,
SO I STARTED OUT IN 1984,
AND I GOT A JOB
RIGHT AWAY.
I WAS LUCKY; I GOT
A JOB IN THE PARK,
DOING
THE DREAM
WITH R.H. THOMPSON
WHO WAS DIRECTING IT.
I HAD ACCEPTED A GRADUATE
PROGRAM IN THE STATES;
I'D BEEN OFFERED
A NUMBER OF THEM.
IN THE UNITED STATES, THEY
GO ON AND STUDY THEATRE
UNTIL THEY'RE ABOUT 50.

Richard says AND THEN WRITE A BOOK.
AND THEN SOMETIMES,
THEY SEE A PLAY.

Antoni says AND IT'S HARD, BECAUSE IF
YOU'RE GOING TO DO WORK
IN THEATRE - AND YOU MAYBE
NEVER HAD THIS MISFORTUNE,
OR FORTUNE, AS IT IS - TO GO
OUT AND WAIT ON TABLES.
BECAUSE THAT'S WHAT WE ALL
HAD TO DO FOR A WHILE;
I MEAN, IT'S INEVITABLE.
EVEN IF YOU GET
TWO OR THREE JOBS,
YOU'RE NOT GOING TO GET
CONTINUOUS WORK RIGHT AWAY.
SO, IT MAKES IT VERY HARD
FOR PEOPLE WHO DO THAT,
AND REALIZING THAT,
REALIZING THAT I WOULD
GRADUATE CLOSE TO 30 AND
ALSO THAT I WOULD HAVE
TO LEAVE THE WOMAN WHO
EVENTUALLY BECAME MY WIFE,
I THOUGHT, I'D
BETTER NOT DO THAT.
SO, I STAYED IN TORONTO,
I DID
THE DREAM,
AND THEN I REALIZED,
I'M STARTING TO WORK
AND IT'S GOING
TO BE OKAY.
AND MY PARENTS WERE ANXIOUS
DURING THAT PERIOD BECAUSE
THEY FELT, IS HE GOING
TO CONTINUE TO WORK?
AND, OF COURSE, WHEN I
DIDN'T CONTINUE TO WORK,
THEY WERE WORRIED
ABOUT ME.
BUT IT EVENTUALLY
WORKED OUT.
I GOT TO HERE IN 1988 AND
EVENTUALLY I PLAYED ROMEO.
I WAS TAPING ROMEO; WE HAD
TWO SESSIONS TO TAPE IT.
THEY BRING IN THE HOCKEY
NIGHT IN CANADA CREW
AND DO THAT - AT LEAST,
THEY DID IN THOSE DAYS.
AND WE TAPED
ONE ON A SUNDAY,
AND THEN I FOUND
OUT THAT EVENING,
MY MUM ACTUALLY HAD
TERMINAL CANCER.
AND THEN WE TAPED THE NEXT
SESSION ON A TUESDAY,
SO THAT THEY TOOK THE TWO
AND CUT THEM TOGETHER,
AND I SUPPOSE THEY'RE
VERY DIFFERENT VERSIONS.
SO, SHE DID GET
TO SEE ME DO THAT,
AND SHE SURVIVED FOR AN
EXTRAORDINARILY LONG TIME,
GIVEN THE DISEASE
THAT SHE HAD,
AND SAW MORE
OF MY WORK.

Richard says LET ME ROLL THE
TAPE BACK.
WHEN THEY SAW SOMETHING LIKE
ROMEO WHEN YOU WERE HERE,
DID THAT MAKE THEM ACCEPT
WHAT YOU COULD BECOME
AND WHAT YOU HAD DONE?

Antoni says YEAH.

Richard says ALSO, HE'S ITALIAN, RIGHT?

Antoni says THAT'S RIGHT,
THAT'S RIGHT.
AND THEY'VE SEEN HIS HOUSE SO
THEY WERE ABLE TO UNDERSTAND.

Richard says AND THEY WERE USED
TO THE EMOTIONS.

Antoni says YEAH, AND THEY DID, AND
IT GOT TO BE ON TV.
FOR A LOT OF YOUNG ACTORS,
GETTING YOUR WORK
ON TV IS CRITICAL.
MY WIFE DID A TV SERIES,
SO HAVING SOMETHING
THAT YOUR PARENTS CAN
POINT AT AND SAY,
SEE, MY SON OR MY
DAUGHTER DID ALL RIGHT,
IS VERY IMPORTANT.
FOR THOSE OF US WHO ARE
ACTUALLY IN THE ART FORUM,
WE THINK, YEAH, OKAY, IT'S
IMPORTANT BECAUSE USUALLY
THE SCRIPTS AREN'T ALL THAT
GREAT, BUT THE PAYCHEQUE IS.
SO, IT'S IMPORTANT FOR THE
SURVIVAL OF THE ARTIST AND
OCCASIONALLY GET TO WORK ON
A PROJECT WHICH IS REALLY GREAT.
BUT FOR YOUR PARENTS,
IT CAN BE A COMMERCIAL,
BUT IT LEGITIMIZES YOU.

Richard says RIGHT.
ROMEO AND JULIET...
YOU HADN'T BEEN HERE THAT LONG;
IT'S ONE OF THE MAJOR
ROLES IN THE CANON.
WHAT WAS INTERESTING
IS, WHEN YOU WERE CAST,
YOU WERE CAST OPPOSITE
MEGAN FOLLOWS.
THIS IS, GEE,
SHE'S THE TV STAR
OF THE TIME AND
WE'RE GOING TO USE IT.
FIRST OF ALL, DID THAT
BOTHER YOU AT ALL,
THAT IT WAS, OH, IT'S THE
MEGAN FOLLOWS PRODUCTION
AND ANTONI CIMOLINO'S
PLAYING THE OTHER PART?

[chuckling]

Antoni says NO.

Richard says I DON'T THINK
STRATFORD THOUGHT THAT,
BUT THE PRESS?

Antoni says YES, DEFINITELY.
AND THAT'S OKAY,
SHE IS A STAR.
SHE'S GREAT, AND SHE WAS
A PLEASURE TO WORK WITH.
SO, NO, I DIDN'T
FEEL THAT AT ALL.
I THINK I FELL A LITTLE
BIT IN LOVE WITH HER,
AS WE DO, AND I SUPPOSE
MY WIFE WILL...
UGH - WHEN SHE SEES THIS
HAVE TO THAT FIND OUT.
SO, I WAS FINE
WITH THAT.
AND I REALLY HAD A GREAT
TIME DOING THAT SHOW WITH HER.
AND, OF COURSE, THERE IS
THAT; BUT THAT, I THINK,
WAS THE EASIEST PART
OF A LOT OF THAT.
YOU KNOW FROM BEING A
DIRECTOR IN THIS COUNTRY,
AS WELL AS A WRITER, THERE'S
A LOT OF KNOCKS IN THE BUSINESS.
YOU HAVE TO HAVE
VERY THICK SKIN.

Richard says WITHIN THE PROFESSION,
DID YOU FEEL PEOPLE WERE
HAPPY THAT YOU WERE
PLAYING ROMEO?

Antoni says YES, I FELT VERY
SUPPORTED BY THAT,
AND ALSO I FOUND OUT I
WAS PLAYING ROMEO ABOUT
TWO MONTHS BEFORE I
KNEW WHO MY JULIET WAS.
AND I HAD HAD A SEASON
THE YEAR BEFORE, IN '91,
AT THE FESTIVAL, WHICH WAS
ODD BECAUSE THEY HAD
PUT ME AS AN ASSISTANT
DIRECTOR ON A PROJECT,
WITH BILL GASKILL, WHO
WAS THE FORMER DIRECTOR
OF THE ROYAL
COURT THEATRE.
AND HE WAS A REAL EDUCATION;
HE TAUGHT ME SO MUCH.
AND THEN I WAS WORKING
WITH HIM IN NEW YORK,
BECAUSE HE ASKED ME TO
COME AND ASSIST HIM ON
COMEDY OF ERRORS,
WHICH WAS IN NEW YORK.
AND IT WAS AT THAT TIME THAT
I FOUND OUT I WAS PLAYING
ROMEO, SO MY HEAD WAS
ALREADY STARTING TO GET
AROUND TO, WELL, WHAT ABOUT
BEING ON THE OTHER SIDE
OF THE TABLE?
SO, I WAS DELIGHTED TO FIND
OUT I WAS GOING TO DO ROMEO,
AND THEN JUST CHUFFED
IT WAS WITH MEGAN.

Richard says ROMEO IS ONE OF
THOSE TOUGH PARTS.
EVERYONE THINKS
IT'S GREAT, RIGHT,
BECAUSE YOU'RE
ONE OF THE STARS,
YOU GET TO DO THOSE
ROMANTIC SCENES.
BUT IT'S REALLY DIFFICULT IN
THE HIGHS AND LOWS YOU HAVE
TO GO THROUGH, AND HOW
YOU'RE OFFSTAGE FOR A WHILE
AND THEN YOU COME BACK, AND
THEN YOU FINALLY HAVE TO GO:
REMEMBER ME,
I WAS HERE?
IF YOU WERE GIVING ADVICE
TO SOMEONE WHO WAS
ABOUT TO PLAY ROMEO,
WHAT WOULD IT BE?

Antoni says THE FIRST COUPLE OF
SCENES ARE A KILLER.
THE FIRST FEW SCENES,
SHAKESPEARE IS SENDING
UP THE STOCK YOUNG
LOVER AND SAYING,
THAT'S WHAT ROMEO WAS.
AND SOON AS HE MEETS
JULIET, HE BECOMES A MAN
AND BECOMES A COMPLETE,
FULL, TRUE LOVER.
AND I FOUND THOSE FIRST
TWO SCENES REALLY HARD
BECAUSE THEY'RE WRITTEN IN
A VERY DIFFERENT STYLE,
THEY DON'T ALLOW YOU TO REALLY
HAVE THREE DIMENSIONS,
WHICH IS A DEVICE
IN THE PLAY;
HE MAKES IT SO THAT YOU
POP OUT OF THE BOOK.
YOU GO FROM BEING
TWO-DIMENSIONAL TO BECOMING
THREE-DIMENSIONAL, RIGHT
WITHIN THE WRITING.
SO, IN ADDITION
TO WORK OUT A LOT,
BECOME AN EXCELLENT FENCER,
LEARN EVERYTHING YOU CAN,
AND HAVE A FEW YEARS'
EXPERIENCE IN SHAKESPEARE
UNDER YOUR BELT, FIND A WAY
OF BEING ABLE TO PERFORM
THE FIRST FEW AND THEN REALIZING
THAT MAN, THAT MATURE,
YOUNG MAN AND HAVING A
GRIP ON THAT POETRY
AND BEING ABLE
TO COME OUT.
AND THAT'S VERY HARD; I
ALWAYS FOUND IT TOOK ME
A WHILE TO GET IN THE STRIDE,
AND I DON'T THINK I EVER
GOT THOSE FIRST FEW
SCENES RIGHT.

Richard says WHAT ABOUT STUDENTS?
STRATFORD DOES
STUDENT MATINEES.
THE YOUNG KIDS NOWADAYS LOVE
THE LEONARDO DICAPRIO
ROMEO AND JULIET.
BUT THERE YOU ARE, AND
YOU'RE DOING LOVE STUFF
UP THERE, AND YOU'RE
A YOUNG GUY.
WHAT'S THE FEEDBACK
YOU GET FROM THEM...
BESIDES THE CHEWING GUM?

Antoni says THE CHEWING GUM AND THE
HOOTING AND EVERYTHING.
THE TROUBLE IS YOU BEGIN
TO SENSE WHEN THEY'RE
GOING TO GO, OOOOOH.
AND THAT'S HARD,
THAT'S HARD...

Richard says DOES THAT MAKE YOU
CENSOR YOURSELF?

Antoni says WELL, IT MAKES YOU
SORT OF KNOW THAT
IT'S GOING TO HAPPEN.
AND I STILL
REMEMBER LOOKING,
AFTER WE GET TO THE END OF
THE SONNET AND MEGAN AND
I KISS, WE WOULD GO INTO THIS
15-SECOND HOLD, SEEMINGLY,
OF WHERE THEY'RE ALLOWING
THEIR HORMONES TO VENT.
AND LOOKING AT MEGAN'S
TWINKLING EYES,
BECAUSE WE'RE BOTH SORT
OF LAUGHING AND WE'RE
JUST WAITING
FOR IT TO END.
IT WAS DELIGHTFUL BUT
IT COULD WARP THE PLAY.
THE OTHER SIDE OF IT IS
THEY REALLY GO WITH IT,
AND BY THE END, YOU COULD
REALLY HEAR THEM CRYING.

Richard says REALLY?

Antoni says SO, THAT'S OKAY.
IT'S HARD DOING SHAKESPEARE
FOR STUDENTS AT STRATFORD.
WE WANT TO DO IT AND
WE NEED TO DO IT.
BUT SOMETIMES SOME
OF THIS WORK FOR THEM,
THEY'RE GETTING TROTTED
OUT AND IT'S A FIELD TRIP
AND IT'S STRANGE
NEW PLACES.
SOME OF THEM HAVE NEVER
SEEN A PLAY BEFORE SO IT'S
A REAL CHALLENGE, AND WE
KNOW AS ACTORS THAT IT'S
AN IMPORTANT PART OF OUR
MANDATE TO DO THIS.
NEVERTHELESS, IT CAN BE
QUITE HARD AND I KNOW THERE
ARE SITUATIONS WHERE, FOR
INSTANCE, IN
JULIUS CAESAR,
I KNOW THAT THEY FOUND IT
QUITE DIFFICULT TO PLAY THAT
MANY STUDENT PERFORMANCES.
ON THE OTHER HAND, WE'RE NOT
GOING TO HAVE AN AUDIENCE
IN THE FUTURE IF WE
DON'T DO THAT.

Richard says IT'S ESPECIALLY
TRICKY BECAUSE,
FOR THE ADULT
AUDIENCES, YOU THINK,
IF THEY'RE COMING TO
STRATFORD OVER THEIR WHOLE
ADULT LIVES, THEY'VE
PROBABLY SEEN
JULIUS CAESAR
MAYBE FOUR TIMES,
OR FIVE TIMES.
WE'D BETTER MAKE
IT FRESH FOR THEM.
WHEREAS THE STUDENTS
HAVE NEVER SEEN IT,
AND YOU JUST WANT TO
MAKE IT CLEAR FOR THEM
AND EXCITING AT
THE SAME TIME.

Antoni says THAT'S RIGHT, SO THERE'S A
DIFFERENT KIND OF ATTACK ON IT.
AND AT THE FESTIVAL TOO,
YOU HAVE TO SORT OF DECIDE,
IF A PERSON'S NEVER SEEN A
PLAY BEFORE, YOU'RE RIGHT,
CLARITY IS VERY IMPORTANT.
SO, YOU WOULDN'T WANT
TO TAKE, FOR INSTANCE,
HAMLET
AND SET IT
INSIDE OF HIS BRAIN.
AND TAKE AN ATTACK WHICH
IS A LITTLE BIT OBSCURE,
BUT MIGHT DELIGHT THE PATRON
WHO HAS SEEN IT 15 TIMES
AND DOESN'T WANT ANOTHER
MEAT-AND-POTATOES
HAMLET.
ON THE OTHER HAND,
WE'RE FINDING THAT...
WE HAVE THIS CONCEPTION
THAT WHEN PEOPLE COME TO
THE FESTIVAL FOR THE FIRST
TIME, THEY'RE COMING ALWAYS
FOR SOMETHING
THAT'S ACCESSIBLE.
THE FACT IS, WHEN THEY'RE
COMING TO THE FESTIVAL
FOR THE FIRST TIME, 30 PERCENT
OF OUR FIRST-TIME BUYERS
ARE GOING TO COME TO ONE
OF THE BIG SHAKESPEARES.
ANOTHER 30 PERCENT ARE GOING
TO GO TO THE OTHER BIG
SHAKESPEARE, AND ABOUT 30
TO 40 PERCENT WILL SEE
THE OTHER PLAYS
AND A MUSICAL.
SO, POINT OF ENTRY FOR THE
FESTIVAL ISN'T REALLY
THE MUSICAL; IT'S
THE SHAKESPEARE.
SO, ACCESSIBILITY
IS IMPORTANT.

Richard says THAT'S WONDERFUL, YOU'RE
TALKING LIKE A DIRECTOR.
YOU'VE SEGUED MY NEXT
LINK, WHICH IS, LOGICALLY,
PLAYING ROMEO, DOING WELL AT
IT, YOU'D THINK, THAT'S IT,
ANTONI CIMOLINO WILL NOW GO
ALONG AND HE'LL WORK HIS
WAY UP AND THEN WE'LL SEE
HIS BEROWNE AND THEN
WE'LL SEE HIS MACDUFF.
AND THEN EVENTUALLY, WE'LL
BE SEEING THIS WHEN HE'S 86,
HE'LL DO HIS LEAR.
BUT YOU WOUND UP SHIFTING
GEARS AND WORKING
WITH RICHARD MONETTE
AS HIS ASSISTANT.
HOW DID ALL IT HAPPEN?

Antoni says THE YEAR FOLLOWING ROMEO
TURNED OUT TO BE QUITE
A DIFFICULT YEAR BECAUSE
OF MY MUM AND STUFF.
AND I FOUND THAT I WAS
LESS ENGAGED IN MY WORK
THAN I MIGHT HAVE BEEN, AND
ALSO THE SEED OF ASSISTANT
DIRECTING I FOUND
SO CAPTIVATING.
I FOUND THAT VERY
INTERESTING,
AND I STARTED LOOKING
AT OTHER PROJECTS.
ONE OF WHICH TURNED OUT TO
BE WORKING WITH MONETTE
ON ANTONY AND CLEOPATRA IN '93,
THE SEASON FOLLOWING ROMEO.
AND HE WAS LOOKING
FOR AN ASSISTANT,
AND HE WORKED WITH A NUMBER
OF DIFFERENT ASSISTANTS
LIKE JEANNETTE LAMBERMONT,
AND WORKED WITH HER
FOR A NUMBER OF PROJECTS, AND
A COUPLE OF OTHER PEOPLE.
AND HE WORKS VERY
CLOSELY WITH THEM.
HE ACTUALLY CARES ABOUT WHAT
PEOPLE THINK ABOUT HIS WORK.
A LOT OF DIRECTORS, YOU
SIMPLY GO OUT AND GET COFFEE.
THIS GUY ACTUALLY WILL SAY,
WHAT DID YOU THINK ABOUT IT?
AND YOUR RESPONSE WILL
BE MEANINGFUL AND YOU
MAY SEE SOME OF IT
ON STAGE EVENTUALLY,
SO YOU HAVE TO BE VERY
CAREFUL ABOUT WHAT YOU SAY.
SO, I WORKED WITH HIM ON
ANTONY AND CLEOPATRA,
AND THAT WAS, AGAIN, A
LEARNING EXPERIENCE BECAUSE
HIS ATTACK WAS SO COMPLETELY
DIFFERENT FROM THIS VERY DRY,
INTELLECTUAL, BUT
KIND OF, AT THE SAME TIME,
BRILLIANT ATTACK
OF GASKILL'S ON TEXT.
RICHARD HAD A MUCH
MORE VISCERAL,
LIFE ENERGY ATTACK
TO THESE TEXTS,
WHICH WAS INFORMED AS
MUCH BY HIS HEART
AS IT WAS BY HIS HEAD.
SO, DURING THAT YEAR, HE
FOUND OUT HE WAS GOING
TO BECOME THE ARTIST DIRECTOR,
AND HE WAS LOOKING
FOR SOMEBODY TO SERVE AS
AN ONGOING ASSISTANT.
I DIDN'T KNOW THIS, BUT HE
WENT TO ALL THOSE OTHER PEOPLE
WHO HAD SERVED AS
ASSISTANTS FOR HIM -
JEANNETTE AND OTHER PEOPLE -
AND ASKED THEM IF THEY WOULD
LIKE TO COME BACK TO THE
FESTIVAL AND WORK
AS HIS ASSISTANT ON
AN ONGOING BASIS.
AND I UNDERSTAND THAT, GIVEN
THE POINT OF THEIR LIVES
AND THEIR CAREERS, THAT
COMING BACK AND SERVING
AS AN ASSISTANT AGAIN FOR
RICHARD WASN'T REALLY
SOMETHING THAT THEY FELT
WOULD BE PRODUCTIVE
IN THE LONGER
TERM FOR THEM.
I THINK THEY HAD THEIR
OWN PROJECTS ON THE GO.
WHEREAS FOR ME, IT WAS A
GREAT OPPORTUNITY
AND A LEARNING EXPERIENCE.
SO, HE, I THINK, WENT
THROUGH ABOUT FIVE OR SIX
PEOPLE, AND THEN EVENTUALLY,
THE OFFER CAME TO ME.
AND, GIVEN THAT FOR AN ACTOR
WHO WAS TRYING TO LEARN
SOMETHING ABOUT DIRECTION,
THIS WOULD BE A HUGE
OPPORTUNITY; I GRABBED IT.

Richard says GREAT.
NOW, ONCE YOU GOT INTO
IT, PROS AND CONS.
PROS ARE YOU GET TO WORK
WITH THE ARTISTIC DIRECTOR,
HEAR WHAT HE'S THINKING,
SHARE THE CREATIVE PROCESS.
WE CAN GUESS AT THAT;
THAT'S OBVIOUS,
BUT WHAT ABOUT
THE DOWNSIDE?
THERE HAS TO BE
A DOWNSIDE.

Antoni says YEAH, THE DOWNSIDE WAS
I FOUND IT VERY HARD
TO CONCENTRATE ON MY
WORK AS AN ACTOR,
AND I FOUND IT VERY HARD
TO SORT OF GO ON AND
BE A COMPANY MEMBER,
AS I HAD BEEN BEFORE.
WHEN YOU'RE AT THIS PLACE -
AND YOU WOULD KNOW THIS
AS WELL AS ANYBODY - YOU NEVER
REALLY KNOW WHAT'S HAPPENING
BEHIND THE OFFICE DOOR, YOU
DON'T KNOW WHAT'S HAPPENING
ON THE OTHER SIDE
OF THE TABLE,
BECAUSE IT'S
A HUGE PLACE.
AND AS AN ACTOR, YOU
FIND OUT YOUR OFFER AND
YOUR HEART'S BROKEN, OR
YOU'RE ELATED, OR YOU THINK,
THAT'S OKAY.
BUT YOU NEVER REALLY
UNDERSTAND WHAT HAPPENS,
OR ALL THE...
I DON'T WANT TO USE
THE WORD POLITICS,
BUT YOU ALWAYS SUSPECT
THERE IS POLITICS;
YOU ALWAYS FEEL, GEE,
I COULD HAVE HAD
A BETTER CHANCE AT THAT.
BY FINDING OUT WHAT WAS
HAPPENING ON THE OTHER SIDE
OF THE TABLE, BY BEING IN
ON THE IN-CAMERA DISCUSSIONS
ABOUT WHERE THE DIRECTION
OF THE COMPANY WAS GOING,
I CAME TO SUCH VERY QUICK
MATURITY ABOUT THESE THINGS.
I WAS SURPRISED THAT I WAS
STILL AT THE FESTIVAL
FOR AS MANY YEARS
AS I HAD BEEN.

Richard says REALLY?

Antoni says SURE, BECAUSE THERE ARE
SO MANY INFLUENCES IN
THE DECISIONS ABOUT WHO'S
GOING TO PLAY WHICH PARTS.
AND STRATFORD IS A VERY BIG
PLACE IN WHICH YOU HAVE
TO COME UP WITH THE GOODS.
AND IF YOU DON'T COME
UP WITH THE GOODS,
IT'S VERY EASY TO
KIND OF GO, BYE BYE.
FOR INSTANCE, THE YEAR AFTER
WE DID
THE DREAM
TOGETHER,
RICHARD, IT WAS KIND OF A
CRITICAL YEAR BECAUSE
WE HAD A NEW ARTISTIC
DIRECTOR COMING IN, IN 1990,
WITH DAVID WILLIAM, AND THE
FACT THAT DAVID LIKED
MY WORK WAS, I REALIZE
NOW, VERY IMPORTANT.
A LARGE PART OF THAT COMPANY
LEFT SIMPLY BECAUSE
THERE WAS ANOTHER PERSON
CHOOSING THEM, AND TASTES VARY.
SO, THAT WAS ONE THING.
I REALLY LEARNED A
LOT ABOUT THE PROCESS,
AND I FOUND IT FAIR.
I FOUND THAT RICHARD REALLY
CARED ABOUT THE ARTIST,
AND THAT WAS A HUGE RELIEF,
THAT HE ACTUALLY GAVE PEOPLE
THEIR DAY IN COURT, WORRIED
ABOUT PEOPLE IN THE
LONGER TERM, AND THAT THERE
WAS SOME SENSE BEHIND
WHAT SEEMED TO BE A SENSELESS
KIND OF ONGOING BUSINESS.
IT WAS FAIR.
SO, THAT WAS ONE THING.
THE OTHER THING WAS, AS
I FOUND MYSELF ONSTAGE,
PLAYING LAERTES IN '94,
AND I'M ABOUT TO HAVE
A SWORD FIGHT WITH HAMLET.
AND I'M THINKING, DID
I ANSWER THAT CALL?
WHAT ABOUT THAT
MEETING TOMORROW?
SO, YOU CAN'T
REALLY DO THAT.
YOU'RE EITHER IN THE SWORD
FIGHT OR YOU'RE NOT.
SO, I FOUND THAT I FOUND MY
ATTENTION BEING VERY MUCH
SPLIT - SPLIT EVEN ON THE
ARTISTIC SIDE BECAUSE
I WASN'T SIMPLY ASSISTING
A PERSON WHO'S
DIRECTING PLAYS.
I WAS ASSISTING SOMEONE
WHO WAS MANAGING A LARGE
ARTS ORGANIZATION.
SO, THE FLOWERBEDS, THE
MARKETING OF THE FESTIVAL,
OUR ONGOING FINANCIAL
COMMITMENTS AND WHAT
GOT INVESTED IN FIRST
BECAME VERY IMPORTANT.
AND RICHARD NEEDED SOMEBODY
WHO COULD BE HIS EAR
ON THAT SORT OF THING,
AND SO THAT WAS,
AS MY ATTENTION WAS GOING
AWAY FROM BEING AN ACTOR
TO BECOMING AN ASSISTANT
AND A DIRECTOR,
IT WAS ALSO GETTING SPLIT
BETWEEN THE ARTISTIC
ELEMENTS OF A FESTIVAL AND
THE ONGOING MANAGERIAL
ELEMENTS OF A FESTIVAL.

Richard says NOW, BEFORE YOU FINALLY GOT
PUT INTO THE MANAGERIAL SIDE
THOUGH, YOU TOOK A
BIG BUMP FORWARD.
YOU HAD BEEN DIRECTING
APART FROM THE FESTIVAL,
DOING SUCCESSFUL WORK
DOWN IN THE STATES,
GETTING AWARDS FOR IT,
AND A LOT OF ACCLAIM.
AND THEN LAST SUMMER,
YOU SOLO DIRECTED YOUR
FIRST SHOW AT THE FESTIVAL
YOURSELF,
FILUMENA.
NOW, TALK ABOUT SETTING
YOURSELF A HARD TASK:
YOU'RE DOING A PLAY BY
DE FILIPPO, WHICH IS NOT
WELL KNOWN AT THE FESTIVAL,
AND RICHARD MONETTE
IS COMING BACK TO ACTING
FOR THE FIRST TIME
AFTER OVER A DECADE,
FROM HIS STAGE FRIGHT.
DID YOU THINK, LIKE, HOW
MUCH CAN I GIVE MYSELF
TO DO IN ONE SHOW?

[chuckling]

Antoni says I THINK THAT RICHARD HAD
BEEN TRYING TO PREPARE ME
TO EVENTUALLY DIRECT A
SHOW AT THE FESTIVAL.
THAT SAID, IT'S VERY HARD
TO GET THAT FIRST SHOW AT
THE FESTIVAL, AND I'M NOT
SURE IT WOULD HAVE HAPPENED
IF IT HADN'T BEEN THIS
PARTICULAR SCRIPT.
IT WAS A SCRIPT THAT
RICHARD WAS INTERESTED IN,
AND A SCRIPT WHICH,
BECAUSE OF MY ETHNICITY,
MADE SENSE
THAT I DIRECT.
SO, IT WAS, AGAIN, A NUMBER
OF FORCES COMING TOGETHER.
AND I THINK RICHARD WAS VERY
MUCH A PART OF THE PACKAGE.
HE READ THE SCRIPT, WHICH
I GAVE HIM, AND HE SAID,
THIS MAN IS MY FATHER; I
HAVE TO PLAY THIS PART.
AND I THINK THEY HAD A
VERY ROCKY RELATIONSHIP,
FROM WHAT HE'S RECOUNTED,
ABOUT HE AND HIS DAD.
SO, TO ACTUALLY GET TO
EXPLORE WHAT WAS GOING ON
INSIDE OF THAT MAN'S MIND,
BECAUSE OF THE ACTIONS
OF THE MAN INSIDE OF
FILUMENA WERE A LOT LIKE
THE KIND OF ANTICS AND
TANTRUMS THAT RICHARD
FELT HIS FATHER
KIND OF WAS UP TO.
AND TO BE ABLE TO GO
THROUGH THAT, I THINK,
WAS A PURGATIVE
EXPERIENCE FOR RICHARD,
AND HE GOT A LOT
OFF HIS CHEST.
NEVERTHELESS, AS A
DIRECTOR, HAVING TO DIRECT
THE ARTISTIC DIRECTOR IS
A GOOD PRESCRIPTION
FOR A GOOD EARLY
RETIREMENT.

Richard says THE MAALOX STOCK WENT
UP CONSIDERABLY
AT THE STRATFORD
PHARMACY, YES.

Antoni says BUT HE WAS FINE.
I FOUND THE KEY TO IT IS
FREQUENT SMOKING BREAKS.

They both laugh.

Richard says SEE, THE YOUNG
ACTOR-DIRECTOR IS LEARNING
A LOT FROM THIS
CONVERSATION.
BUT YOU WERE
ABLE TO, I GUESS,
HAVE A LOT OF EMOTIONAL
INVESTITURE
IN THAT PRODUCTION
AS WELL.
IN FACT, IN A
VERY NICE PROGRAM,
YOU THANKED YOUR PARENTS,
BOTH OF WHOM HAD PASSED AWAY
BY THAT POINT.
BECAUSE THAT WAS YOUR
HERITAGE TOO, RIGHT,
AND THE WHOLE PLAY IS ABOUT
FAMILY AND TRADITION,
AND WHAT DO THE SONS DO?
I THOUGHT OF THAT
WHEN I WAS WATCHING,
BECAUSE IT'S LIKE,
HOW DO WE KEEP THE SONS
GOING ON AND WHAT
BUSINESS DO THEY DO
AND HOW DO
THEY PROGRESS?
DID YOU FEEL THAT WAY WHEN
YOU SAW THE THREE SONS?

Antoni says YEAH, I DON'T KNOW IF IT
WAS JUST THE TIME OF LIFE,
BUT MY DAD HAD PASSED AWAY
WITHIN A YEAR OF MY MUM DYING.
AND WHEN I READ THAT SCRIPT,
I FELT VERY VULNERABLE.
I FELT I UNDERSTOOD THEM,
AND I UNDERSTOOD
BECAUSE THE SONS AREN'T
ACCEPTED RIGHT AWAY.
THEY'RE ILLEGITIMATE
CHILDREN,
AND THIS MAN HAS TO
ACCEPT THEM AS HIS.
AND IN A WAY, FOR
THE MAN THAT SAID,
YOU'RE GOING TO
BE AN ARTIST?
THERE'S AGAIN NOT AN
ACCEPTANCE OF WHAT
IS YOUR SON, OF WHAT IS
YOUR FLESH AND BLOOD,
BECAUSE THEY'RE NOT
CONFORMING TO A WAY
OF BEHAVING THAT
YOU WANT.
AND I THINK
PARENTS DO THAT.
YOU TRULY BECOME: NO,
THAT'S YOUR DAUGHTER -
THEY SAY TO THEIR WIFE.
UNTIL THAT RIGHT MOMENT
COMES AND THEN THEY'RE
PROUD, AND THEIR PRIDE AND
THEIR LOVE MEET AND MINGLE.
AND THAT'S AN
IMPORTANT MOMENT.
SO, READING THAT
SCRIPT, I FELT, YEAH,
THAT'S A PLAY ABOUT
ACCEPTANCE, ABOUT FAMILIES,
ABOUT GETTING TO
ACCEPT ONESELF.
BECAUSE THE ACT OF
ACCEPTING YOUR SON,
WITH ALL HIS FLAWS,
IS ALSO THE ACT OF
ACCEPTING YOURSELF.
I WATCH MY SON
AND I THINK...
I SAW HIS FIRST REPORT CARD
AND I THOUGHT, THIS IS ME!
[laughing]
EVERYTHING THAT I DID
BADLY, HE DOES BADLY.
IT'S EERIE, AND EVERYTHING
THAT HE SHOWED BRILLIANCE IN...
HE DOES SHOW
BRILLIANCE...
BUT I THINK I WAS
GOOD AT, TOO.
SO, IT'S FUNNY, THAT.
SO, I DID DEFINITELY
HAVE A VERY STRONG
CONNECTION TO THAT TEXT.

Richard says AND THAT MADE IT EASIER
FOR YOU TO MAKE THAT LEAP,
I THINK.

Antoni says YES, I DIDN'T
FEEL LIKE...
IF I HAD BEEN HANDED
SOMETHING WHICH WAS
AN ASSIGNMENT TO BE GIVEN
TO A YOUNG DIRECTOR
THAT WE'RE TRYING TO BREAK IN,
AND HERE, GO ON, TAKE THIS,
AND I HAD NO REAL
CONNECTION TO IT,
I DON'T KNOW HOW
I WOULD HAVE DONE,
AND I WOULD HAVE FOUND
IT QUITE DIFFICULT.
IN THIS CASE, I WAS DOING
SOMETHING THAT I LOVED
AND SOMETHING THAT
I BELIEVED IN.

Richard says NOW, BIGGER LEAP: WE
DISCOVERED THIS PAST SPRING,
YOU ARE NOW THE NEW
PRODUCING DIRECTOR
OF THE FESTIVAL.
OFFICIALLY, WHAT
DOES THAT MEAN?

Antoni says IT MEANS THAT THEY
HAVE - THEY, MEANING
OUR GENERAL MANAGER
AND OUR ARTISTIC DIRECTOR,
AS WELL AS OUR BOARD OF
DIRECTORS - LOOKED AT
TRYING TO FIND A NEW
MODEL FOR THE FESTIVAL.
I THINK THAT BECAUSE IT'S
SUCH A BIG ORGANIZATION NOW...

Richard says IT IS THE LARGEST
NOT-FOR-PROFIT ARTS
ORGANIZATION IN NORTH
AMERICA, ISN'T IT?

Antoni says YES, BY FAR,
IT'S HUGE.
AND IT'S 30 MILLION dollars, AND WE
STILL HAVE TO DO THE SAME THING
WE HAD TO DO IN 1953: WE HAVE
TO PUT ON WONDERFUL PLAYS.
AND THAT'S ACTUALLY A
VERY, VERY SIMPLE THING
IN A VERY COMPLEX MATRIX.
SO, THAT YOU FIND THAT THE
DEMANDS ON THE ORGANIZATION
ARE BECOMING MORE
AND MORE DIVERSE,
AND THERE ARE MORE AND MORE
PEOPLE IN BETWEEN OTHER
PEOPLE SO THAT I MAY NEED
SOMETHING AND YOU MAY BE
ABLE TO GIVE IT TO ME, BUT
THERE ARE 15 PEOPLE IN BETWEEN.
CONSEQUENTLY, WE REALIZED
THAT WE HAD TO
FIND A WAY OF MAKING
GREAT THEATRE SIMPLER,
AND ONE OF THE THINGS
THAT CAME UP WAS THAT
THE MARKETING FUNCTION, AS
WELL AS THE FINANCE FUNCTION,
HAVE TO REALLY BE THERE TO
SERVE OUR CORE MANDATE,
WHICH IS PUTTING ON GREAT
PLAYS AND PUTTING THEM
ON IN A GREAT FASHION.
SO, THE AREA OF
RESPONSIBILITY HAS BEEN
EXPANDED TO ENCOMPASS
PRODUCTION AS WELL
AS FINANCE, AS WELL
AS MARKETING.
SO, THAT IT MEANS
THAT NEXT YEAR,
THE LOOK OF HOW WE
SELL THESE PLAYS,
HOW WE GO ABOUT ACQUIRING
COMPUTER SYSTEMS,
WHICH ALLOW US TO HAVE
THE SOFTWARE DATA AND
THE ALLOCATION OF OUR ASSETS IN
ORDER TO SUPPORT WHERE WE'RE
GOING IN THE FUTURE, WILL BE
BETTER, I HOPE, COMBINED.
AND COMBINED BEHIND
PUTTING ON GREAT PLAYS.
AND COMBINED TO SUPPORT
THE ARTISTIC DIRECTOR,
SO THAT WE FIND THAT WE
ARE DOING EXACTLY
THE KIND OF SEASON RICHARD
WANTS, EVEN THOUGH
THAT MAY BE COMPLICATED
IN DOING EXACTLY THE KIND
OF SPECIAL PROJECTS
RICHARD WOULD LIKE.
BECAUSE IT SUPPORTS
THE ARTIST, RATHER THAN...
AS SOMETIMES
CAN HAPPEN IN VERY
BIG THEATRES - YOU
FIND YOURSELF,
AS AN ORGANIZATION, PURSUING
ACTIVITIES WHICH ARE INTEGRAL
TO THE BOTTOM LINE,
BUT MAY NOT BE INTEGRAL
TO THE CORE MANDATE
OF THE THEATRE.

Richard says I'M THINKING BACK TO THE
KID WHO SAT THERE AND
WATCHED
LOVE'S LABOUR'S
LOST
HERE, MANY YEARS AGO.
AND NOW, YOU'RE SAYING,
DO WE DO WINDOWS 98,
OR DO WE DO LOTUS TO MAKE
SURE EVERYTHING WORKS BETTER?
BUT YOU'RE STILL
CONNECTED WITH THE ART.
IS THIS WHERE YOU THOUGHT
YOU MIGHT WIND UP,
OR ARE YOU HAPPY
WINDING UP HERE?

Antoni says I'M DELIGHTED TO BE HERE
BECAUSE I LOVE MAKING
THIS PLACE WORK, AND I
ALSO LEARN SO MUCH.
DID YOU ALWAYS WANT
TO BE A DIRECTOR?

Richard says YEAH, YEAH.

Antoni says OKAY.
WELL, I FOUND BECOMING A
DIRECTOR WAS A HUGE
LEARNING EXPERIENCE
BECAUSE I REALIZED, WOW,
THERE ARE SO MANY OTHER
THINGS HAPPENING OTHER
THAN JUST ACTING.
AS AN ACTOR, YOU'RE OUT
THERE AND IT'S CRITICAL WHAT
YOU DO, BUT YOU'RE ALWAYS
ASKING QUESTIONS WHICH ARE
PROFOUNDLY PERSONAL
AND, TO A DEGREE,
IT HAS TO BE
SELF-INDULGENT.
SO, I'LL HAVE AN ACTOR IN
AND WE'RE TALKING ABOUT
THE PLAY AND WE'RE TALKING
ABOUT THE GREAT THEMES
IN TENNESSEE WILLIAMS,
AND WHAT THIS MEANS.
AND HE'LL TAKE ALL OF THAT
IN AND THEN HE'LL SAY, SO,
MY COSTUME THEN IS GOING
TO HAVE A RED JACKET OR
A BLUE...? AND SO, YOU'D
LIKE THE HAT ON OR OFF?
AND THAT'S KIND OF THEIR
JOB; THAT'S IMPORTANT.
IT'S CRITICAL
THAT THEY DO THAT,
BECAUSE THEY ARE RESPONSIBLE
FOR ONE SPECK IN
THE POINTILLIST PAINTING.
AND IT'S VERY IMPORTANT
THAT WHEN THEY'RE BLUE,
THEY BE TOTALLY BLUE.
AS A DIRECTOR, YOU GET TO
SEE A LOT MORE SPECKS IN
THAT POINTILLIST PAINTING.
YOU GET TO ACTUALLY SEE,
BECAUSE YOU'RE STANDING BACK.
AND I'VE DISCOVERED
THAT IT'S GREAT FUN
AND IT'S VERY WORTHWHILE
TO PUT PLAYS TOGETHER,
TO HELP ARTISTS
REALIZE THEIR DREAMS.
TO HAVE MARTHA OR
SOMEONE COME IN AND SAY,
I WANT TO DO THE
PLAY THIS WAY,
AND TO HELP THEM
HAVE THE RESOURCES
TO DO THE PLAY THAT WAY.

Richard says REALIZING DREAMS: IT SOUNDS
LIKE A VERY NICE WAY
TO SPEND YOUR LIFE.
ANTONI CIMOLINO, THANKS
FOR TALKING TO ME TODAY.

Antoni says THANK YOU, RICHARD.

Richard faces the screen and says
FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOODBYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1998, The Ontario Educational Communications Authority.

Watch: Antoni Cimolino