Quotes of All Topics . Occasions . Authors
There are times when one's life appears to be a stage. People come, people go. They come in order to go, and go with no intent of return. When they return, they return as one's past. A past that would make you feel that the present is false.
Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!
I would love to make a 1830's period piece, a house in the country, a classic atmospheric haunted house movie, visually it would be so beautiful, the costumes, the candles, the darkness, and the quiet, no radio, to TV, the clock ticking away.
I'm not saying people shouldn't apply themselves and work hard. You do have to try to make your own luck. But I know people firsthand who worked incredibly hard, who were really smart, who never got into trouble, and still didn't get a break.
"Based on a true story" is a come-on, the aesthetic equivalent of "no loan request refused." For, at best, the creator has fashioned a film based on his understanding of, interpretation of, and reduction of the report of an actual occurrence.
You know the way there are two kinds of actors - the De Niro kind who's always De Niro, and then somebody like Daniel Day-Lewis, who transforms himself eerily? Well, I aim to be the Daniel Day-Lewis kind of writer. I don't have a house style.
Oh righteous doom, that they who make Pleasure their only end, Ordering the whole life for its sake, Miss that whereto they tend. While they who bid stern duty lead, Content to follow, they, Of duty only taking heed, Find pleasure by the way.
If Sara had been a boy and lived a few centuries ago, her father used to say, 'she would have gone about the country with her sword drawn, rescuing and defending everyone in distress. She always wants to fight when she sees people in trouble.
Without danger I cannot be great. That is how I pay for Abel's blood. Danger and fear follow my steps everywhere. Without them courage would have no sense. And it is courage, courage, courage that raises the blood of life to crimson splendor.
Live in contact with dreams and you will get something of their charm: live in contact with facts and you will get something of their brutality. I wish I could find a country to live in where the facts were not brutal and the dreams not real.
Most critical fault-finding, when reduced to its essentials, simply amounts to reproach of the author because he is himself -- thinks, feels, sees, and creates, as himself, instead of seeing and creating in the way the critic would have done.
What I find most appalling is the Senate calls it a qualified blind trust when it's not blind. Since the Senate says it's OK, the Senate has made it a political question. It's up to the voter. But there's no doubt it's a conflict of interest.
In America, we have anti-nepotism laws in the federal government and in lots of state governments, because the practice of hiring relatives undermines public confidence that the government official is actually finding best person for the job.
Even within single sentences, there are sudden changes of register. And when the travellers go to Venice, they see a play by Voltaire! This is a novel [Candid] which has narratives within narratives, such as when Cunégonde recounts her story.
This is what it is to love an artist: The moon is always rising above your house. The houses of your neighbors look dull and lacking in moonlight. But he is always going away from you. Inside his head there is always something more beautiful.
No generation is interested in art in quite the same way as any other; each generation, like each individual, brings to the contemplation of art its own categories of appreciation, makes its own demands upon art, and has its own uses for art.
It is not necessarily those lands which are the most fertile or most favored in climate that seem to me the happiest, but those in which a long struggle of adaptation between man and his environment has brought out the best qualities of both.
I'm not afraid of just cranking it out and seeing what comes out of my subconscious. Because I don't always know what I'm feeling. I do a lot of rewriting later. But that first blast feels like a spigot - like it's coming from somewhere else.
When I was 20, in 1957, and maybe you would say I was old enough to know better, but nevertheless, I was completely nuts about Buddy Holly. And I loved pop bands that had absolutely no intellectual pretensions whatsoever. I loved the Monkees.
I think my experience as an actor helps me to write anything. It certainly helped me to write 'August Osage County.' It helps me to write any play that I'm working on because I think one of the things I do well is write good roles for actors.
Jerusalem is ... the fabled city which for the Western mind is as much dream as stone ... a compressed symbol of our most sublime aspirations along with our most disgusting, hatefully brainless excursions into religious bigotry and fratricide.
Well, I will scourge those apes, And to these courteous eyes oppose a mirror, As large as is the stage whereon we act; Where they shall see the time's deformity Anatomised in every nerve, and sinew, With constant courage, and contempt of fear.
I sing, not arms and the hero, but the philosophic man: he who seeks in contemplation to discover the inner will of the world, ininvention to discover the means of fulfilling that will, and in action to do that will by the so-discovered means.
[Joe] Biden countered. He was speaking at a summit for working families, and he said he had no stocks, no bonds, or a savings account. He then asked a Secret Service agent to hand him his hobo bindle, and he jumped a freight train back to D.C.
No one can be so welcome a guest that he will not become an annoyance when he has stayed three continuous days in a friend's house. [Lat., Hospes nullus tam in amici hospitium diverti potest, Quin ubi triduum continuum fuerit jam odiosus siet.
But the Church cannot be, in any political sense, either conservative or liberal, or revolutionary. Conservatism is too often conservation of the wrong things: liberalism a relaxation of discipline; revolution a denial of the permanent things.
We lose the magic whenever we stop telling our story and begin to wonder how we're doing, if we're selling it, if the listener likes us. Just tell the story and go on to the next one. All of us are full of stories the world might want to hear.
Perhaps the most vivid recollection of my youth is that of the local wheelmen, led by my father, stopping at our home to eat pone, sip mint juleps, and flog the field hands. This more than anything cultivated my life-long aversion to bicycles.
Animals have sections in their stomachs which enable them to digest food without mastication, but human beings are supposed to chew their food before they swallow it down... So chew your food and give your salivary glands a chance to function!
When I was a reporter in Bristol, which I was between the years 1954 and 1960, the newspaper would get tickets for whoever showed up to play a gig at the big hall down the road, so I saw some wonderful people. The Everly Brothers, for example.
When I was younger, I could do something useful just by being free for half a day, but now I need five days to get the world I've left out of my head and ten days or a fortnight not talking to anyone to hold what I need to hold inside my head.
When I teach writing, I always tell my students you should assume that the audience you're writing for is smarter than you. You can't write if you don't think they're on your side, because then you start to yell at them or preach down to them.
Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.
We were all miners in our family. My father was a miner. My mother is a miner. These are miner's hands, but we were all artists, I suppose, really. But I was the first one who had the urge to express myself on paper rather than at the coalface.
This is the way I think about politics: We want two diametrically opposed things from a politician. On one hand we want them to be bastions of moral integrity, perfect people, saints. And on the other hand, we want them to be effective leaders.
Since it's based on my parents, it's more emotionally close to me than some of my more surreal plays. And then I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them.
I don't set out to write a play a year. Sometimes I've written two plays a year. There was a period of a year and half when I only wrote half a play. If it depresses some critics that I seem prolific, well, that's their problem as much as mine.
Gradually I became aware of details: a company of French soldiers was marching through the streets of the town. They broke formation, and went in single file along the communication trench leading to the front line. Another group followed them.
Women not only get violated, but then we take on the struggle to end it too... As a man, how could the destruction of women be anything to you but devastating? Think about the fact that the women being hurt are your mothers, daughters, sisters.
'Anna Karenina' is just a story about a woman falling in love with a bloke who is not her husband. It's gossip, rubbish - on the other hand, it's the deepest story there could be about social transgression, about love, betrayal, duty, children.
I can only speak for myself, but when I was growing up in Memphis - and having the Martin Luther King holiday and the moment of pause on April 4th - he was just a statue to me. I wanted to make him a little bit more real to me as a human being.
For hundreds of pages the closely-reasoned arguments unroll, axioms and theorems interlock. And what remains with us in the end? A general sense that the world can be expressed in closely-reasoned arguments, in interlocking axioms and theorems.
There was quite a ruckus about the seven ladies in their simple colored dresses. I was truly dumbfounded that I was, right then and there, deemed the biggest threat to black men since cotton pickin', and not all women were in my corner, either.
Not in innocence, and not in Asia, was mankind born. The home of our fathers was that African highland reaching north from the Cape to the Lakes of the Nile. Here we came about-slowly, ever so slowly-on a sky-swept savannah glowing with menace.
I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.
I think it goes without saying that young would-be playwrights in developmental workshops should be so lucky as to write plays as good as 'Waiting for Godot,' 'Uncle Vanya' or 'King Lear,' none of which would have existed without a decent plot.
Some say that we shall never know, and that to the gods we are like the flies that the boys kill on a summer's day, and some say, to the contrary, that the very sparrows do not lose a feather that has not been brushed away by the finger of God.
I've never forgotten for long at a time that living is struggle. I know that every good and excellent thing in the world stands moment by moment on the razor-edge of danger and must be fought for - whether it's a field, or a home, or a country.
Through the history of the world there have always been exploiters and exploited. There always will be ... because the great mass of men are made by nature to be slaves, they are unfit to control themselves, and for their own good need masters.
One of the reasons I admire David Lindsay-Abaire's work is that he, like the Greeks I've spent so much of my professional life contemplating, is not afraid of taking on the big stuff - huge, human, moral issues - what do we owe to those we love?