Quotes of All Topics . Occasions . Authors
The most threatened group in human societies as in animal societies is the unmated male: the unmated male is more likely to wind up in prison or in an asylum or dead than his mated counterpart. He is less likely to be promoted at work and he is considered a poor credit risk.
The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
But I think what made me go into theater was seeing my mother onstage. The first thing she did was Mrs. Frank in 'The Diary of Anne Frank.' The second thing she did was a play about Freud called 'The Far Country.' She played a paralyzed woman in Vienna who goes to see Freud.
The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
Will this long presidency of George W. Bush ever be over? Living through it is starting to seem like some ghastly, upsetting novel in which the hero is the country, and the president is this disturbing, pig-headed, oblivious villain who makes things worse and worse and worse.
Writers always sound insufferably smug when they sit back and assert that their job is only to ask questions and not to answer them. But, in good part, it is true. And once you become committed to one particular answer, your freedom to ask new questions is seriously impaired.
Anna despises two classes of people: first, those who own their own homes and have cars and families, and second, everybody else. Constantly she is on the verge of exploding. With rage. A pool of pure red. The pool is filled with speechlessness that talks away at her nonstop.
I describe the relationship between man and woman as a Hegelian relationship between master and slave. As long as men are able to increase their sexual value through work, fame or wealth, while women are only powerful through their body, beauty and youth, nothing will change.
There is nothing truer than myth: history, in its attempt to realize myth, distorts it, stops halfway; when history claims to have succeeded, this is nothing but humbug and mystification. Everything we dream is realizable. Reality does not have to be: it is simply what it is.
I have had my dance with Folly, nor do I shirk the blame; I have sipped the so-called Wine of Life and paid the price of shame; But I know that I shall find surcease, the rest my spirit craves, Where the rainbows play in the flying spray, 'Mid the keen salt kiss of the waves.
Looking at it, I started crying. Maybe it was knowing that I had to give up the fantasy, the enormous life consuming fantasy , that someone or something was going to do this for me – the fantasy that someone was coming to lead my life, to choose direction, to give me orgasms.
I think that it was really rock-and-roll stars, women who were breaking boundaries with their bodies and their voices and their beings and their music. I spent a lot of time at concerts,just watching women rock out. They expressed so much of what I believed could be possible.
Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.
Frankly, seeing my plays with an audience is something I do with gritted teeth; I find the experience very difficult. I love the moment when you have just the dress rehearsal, when no one's there; that's kind of the peak to me. When people start filing in, I like to file out.
The historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of literature from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.
That is the worst moment, when you feel you have lost / The desires for all that was most desirable, / Before you are contented with what you can desire; / Before you know what is left to be desired; / And you go on wishing that you could desire / What desire has left behind.
I think theater ought to be theatrical ... you know, shuffling the pack in different ways so that it's -- there's always some kind of ambush involved in the experience. You're being ambushed by an unexpected word, or by an elephant falling out of the cupboard, whatever it is.
There are certain sorts of jokes which have only to do with the substitution of the unexpected word in a familiar context. If you translated something into French and then had it translated back into English by somebody who didn't know the original, you'd lose what was funny.
That it should be the questions and shape of a life, its total complexity gathered, arranged, and considered, which matters in the end, not some stamp of salvation or damnation that disperses all the complexity into some unsatisfying little decision - the balancing of scales.
I was always a writer - working on campaigns was never a profession for me. It was something I did on the side, really, so the trajectory hasn't been a political operative who likes to dabble in writing and finds himself into stumbling on film and TV - that was always my goal.
The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.
The great secret, Eliza, is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls: in short, behaving as if you were in Heaven, where there are no thirdclass carriages, and one soul is as good as another.
The general public is easy. You don't have to answer to anyone; and as long as you follow the rules of your profession, you needn't worry about the consequences. But the problem with the powerful and rich is that when they are sick, they really want their doctors to cure them.
I think I have a certain kind of style. I think at the same time, I'm aware that there's certain things that I did as a playwright in certain plays, and I try not to repeat myself, even though I have a certain kind of sensibility, and I tend to gravitate toward certain things.
Being a writer is so great because you're literally not dependent on anybody. Whereas, as an actor, you have to audition or wait for somebody else to make a decision about how to use you, with writing, you can do it anywhere, anytime you want. You don't have to ask permission.
We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. but there is nothing outside the march so nothing can be lost to it.
Real data is messy. ...It's all very noisy out there. Very hard to spot the tune. Like a piano in the next room, it's playing your song, but unfortunately it's out of whack, some of the strings are missing, and the pianist is tone deaf and drunk- I mean, the noise! Impossible!
There are times when I look over the various parts of my character with perplexity. I recognize that I am made up of several persons and that the person that at the moment has the upper hand will inevitably give place to another. But which is the real one? All of them or none?
But most men regard their life as a poem that women threaten. They may not have two spondees to rub together but they still want to pen their saga untrammelled by life-threatening activities like trailing round Sainsbury's, emptying the dishwasher or going to the nativity play.
There are more microbes per person than the entire population of the world. Imagine that. Per person. This means that if the time scale is diminished in proportion to that of space it would be quite possible for the whole story of Greece and Rome to be played out between farts.
Capitalism has destroyed our belief in any effective power but that of self interest backed by force. But even Capitalist cynicism will admit that however unconscionable we may be when our own interests are affected, we can be most indignantly virtuous at the expense of others.
The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it soundslike.It isimpossible foran Englishmanto openhis mouth without making some other Englishman hate or despise him.
My father was a tailor. He worked from seven o'clock in the morning until seven at night. At least when he got home, my mother always cooked him a very good dinner. Lots of potatoes, I remember; he used to knock them down like a dose of salts. He needed it, after a 12-hour day.
I was told that, when 'Betrayal' was being produced by one of the provincial companies in England, the two actors playing those roles actually went into a pub one day and played that scene as if it were really happening to them. The people around them became very uncomfortable.
I can remember when I was 24, and I broke up with my first serious girlfriend for the first time. She was a very nice person, but she had a little bit of a tendency toward melodrama... Her response was to take the key to my apartment off of her key chain and hand it back to me.
Television is not the truth! Television is a goddamned amusement park. Television is a circus, a carnival, a travelling troupe of acrobats and story-tellers, singers and dancers, jugglers, sideshow freaks, lion-tamers and football players. We're in the boredom-killing business!
Tattletales, and those who listen to their slander, by my good will, should all be hanged. The former by their tongues, the latter by their ears. [Lat., Homines qui gestant, quique auscultant crimina, si meo arbitratu liceat, omnes pendeant gestores linguis, auditores auribus.]
The more nearly the film cutter approaches the natural law of interest, the more invisible will be his cutting. If the camera moves from one person to another at the exact moment that you in the legitimate theatre would have turned your head, you will not be conscious of a cut.
Now he discovered that secret from which one never quite recovers, that even in the most perfect love one person loves less profoundly than the other. There may be two equally good, equally gifted, equally beautiful, but theremay never be two that love one another equally well.
Dying is not romantic, and death is not a game which will soon be over... Death is not anything... death is not... It's the absence of presence, nothing more... the endless time of never coming back... a gap you can't see, and when the wind blows through it, it makes not sound.
I didn't even have a clear idea of why I wanted to go to Oxford - apart from the fact I had fallen in love with the architecture. It certainly wasn't out of some great sense of academic or intellectual achievement. In many ways, my education only began after I'd left university.
A novel it's different. It's kind of exhilarating not to have to cut to the bone constantly. Oh, well I can go over here for a moment. I can say what I think the guy was thinking or what the day looked like or what the bird was doing. If you do that as a playwright, you're dead.
I have never got a grip on when the past begins or where it ends, but if cities map the past with statues made from bronze forever frozen in one dignified position, as much as I try to make the past keep still and mind its manners, it moves and murmurs with me through every day.
What we all have to know is the struggle is long. It's long. It may not end in our lifetimes. But the struggle is what gives our lives meaning and purpose. I tell people to take time out of activism every day to take care of their bodies, to take care of their souls and spirits.
You need only claim the events of your life to make yourself yours. When you truly possess all you have been and done, which may take some time, you are fierce with reality. When at last age has assembled you together, will it not be easy to let it all go, lived, balanced, over?
I've just always been interested in alter-naturalism and seeing if you can make real life interesting enough to be dramatic without enhancing it. Like, could you make a movie or write a play in which there's no compression of time, there's no enhanced event, it's just real life?
Who wishes to give himself an abundance of business let him equip these two things, a ship and a woman. For no two things involve more business, if you have begun to fit them out. Nor are these two things ever sufficiently adorned, nor is any excess of adornment enough for them.
Pretty much, the writer's in charge in theater. Of course you're in charge with the director, but no one can change your words. People can give you notes, but you don't have to take them. In Hollywood you take them and you cash your check and that's your job. It's very different.
The most charming of theories holds that someone other than Shakespeare wrote Shakespeare's plays -- that he was of too low a state, and of insufficient education. But where in the wide history of the world do we find art created by the excessively wealthy, powerful, or educated?
I think so much of writing is an instinct, or a feel for a scene, or a feel for a character. You have to put into words the word 'tone,' which I think is thrown around a lot and can mean a hundred different things, but communicating that to other people is definitely a challenge.