Quotes of All Topics . Occasions . Authors
I think in a lot of romantic comedies it ends with a kiss, and I feel like in modern day relationships, and maybe just my own experience, it starts with a kiss and then all sort of falls apart and then comes together. You're texting. You're wondering what's going on. There's no definitions, there's no labels.
There have been summits of civilization at which heretics like Socrates , who was killed because he was wiser than his neighbors, have not been tortured, but ordered to kill themselves in the most painless manner known to their judges. But from that summit there was a speedy relapse into our present savagery.
It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.
I left school at sixteen - I was fed up and restless. The only thing that interested me at school was English language and literature, but I didn't have Latin, and so couldn't go on to university. So I went to a few drama schools, not studying seriously; I was mostly in love at the time and tied up with that.
It is not for a care-free existence I am fighting, but for the possibility of devoting myself to the task which I believe and know has been laid upon me by God -- the work which seems to me more important and needful in Norway than any other, that of arousing the nation and leading it to think great thoughts.
Writing is like a contact sport, like football. Why do kids play football? They can get hurt on any play, can't they? Yet they can't wait until Saturday comes around so they can play on the high school team, or the college team, and get smashed around. Writing is like that. You can get hurt, but you enjoy it!
One can imagine having a procedural rule that anything ambiguous should be treated as the Taj Mahal unless we see that it is labelled "fog". The motorist replies: "What sort of rule is this? Surely the best guarantee I can have that the fog is fog is if I fail to see the sign saying 'fog' because of the fog."
When ice appears out of doors, and boys seize it up while it is solid, at first they experience new pleasures. But in the end their pride will not agree to let it go, but their acquisition is not good for them if it stays in their hands. In the same way an identical desire drives lovers to act and not to act.
The notion that the 'leader' has the right to ask huge sacrifices of your generation for a notional future paradise - if you'd be good enough to lie down under the wheels of the juggernaut - that sentimental and self-aggrandising rationalisation for brute force and cowardice I felt from adolescence was wrong.
If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.
I go into any movie that's historical fiction thinking, 'OK, I'm here to watch a work of art, something delivering a series of opinions, and if it's a good work of art, these opinions become so deeply embedded in complexity and richness that I won't even be bothered by the opinions. I'll make my own mind up.'
Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.
Personally I don't spend much time thinking about being funny. For me it's always been just a way to get by, a way to be likable yet to remain removed. When I speak up, it's not because I have any particular answers; rather, I have a desire to puncture the pretentiousness of those who seem so certain they do.
We have this myth that if you work hard, you can accomplish anything. It's not a very American thing to say, but I don't think that's true. It's true for a lot of people, but you need other things to succeed. You need luck, you need opportunity, and you need the life skills to recognize what an opportunity is.
It is not enough to hold the line against the dark. It is your responsibility to lead into the light. People don't like the light--it reveals too much. But hand in hand with the creative artist, you can lead people into the wisdom that is known to all other animals: simply, that it is the dark we have to fear.
The universal regard for money is the one hopeful fact in our civilization. Money is the most important thing in the world. It represents health, strength, honor, generosity and beauty . . . . Not the least of its virtues is that it destroys basic people as certainly as it fortifies and dignifies noble people.
I have been definitely influenced more by Latin American writers than by any other type of writer. They are very close in terms of voice - their humor, their fatalism, their... well, that over-used term 'magical realism.' It's a wonderful term that's just been used so much, we don't know what it means anymore.
An idol tells people exactly what to believe, God presents them with choices they have to make for themselves. The difference is far from insignificant; before the idol men remain dependent children, before God they are burdened and at the same time liberated to participate in the decisions of endless creation.
'Master Harold' is about me as a little boy, and my father, who was an alcoholic. There's a thread running down the Fugard line of alcoholism. Thankfully I haven't passed it on to my child, a wonderful daughter who's stone-cold sober. But I had the tendency from my father, just as he had had it from his father.
The basis of drama is... the struggle of the hero towards a specific goal at the end of which he realises that what kept him from it was, in the lesser drama, civilisation and, in the great drama, the discovery of something that he did not set out to discover but which can be seen retrospectively as inevitable.
I wanted to keep the complexity of the female experience in the film as much as it is in the book, and the subject of not wanting a child is a very interesting subject, one that's not dealt with very much actually.However that complexity was not serving the story of what became the film [The Girl on the Train].
I wonder why love is so often equated with joy when it is everything else as well. Devastation, balm, obsession, granting and receiving excessive value, and losing it again. It is recognition, often of what you are not but might be. It sears and it heals. It is beyond pity and above law. It can seem like truth.
The practical question, then, is what to do with the children. Tolerate them at home we will not. Let them run loose in the streets we dare not until our streets become safe places for children, which, to our utter shame, they are not at present, though they can hardly be worse than some homes and some schools.
All my family, my blood, is mixed up now. They don't even all know each other. I just hope they don't never hate or fight each other, not knowin who they are. Cause all these people livin are brothers and sisters and cousins. All these beautiful different colors! We!... We the human Family. God says so! FAMILY!
I trust my judgment when I think it's boring, dull, tepid and not interesting. That's important to listen to. And the same on the set. That's a little easier because you can see it in front of you and you can just see how great they are and you know you have something wonderful when they do something wonderful.
I would love to take control of the entire universe and for five years you give every movie the same widespread distribution no matter what movie and see if there's a real discrepancy between people coming to see science-fiction films or superhero films. I seriously bet there would be no discernible difference.
I am, of course, directly descended from Brian Boru, the last king of Ireland, a fact certified by my mother and therefore beyond dispute. But as everybody else with a drop of Irish blood in his carcass is also a guaranteed descendant of the old billy goat, I am not overly arrogant because of this royal strain.
People ask me: "Do I consider myself to be a Latino writer?" "What does it mean to be Latino?" Those are very strange questions to answer , but feminism is easier because it's just an ideology, a way I live my life. And absolutely in the most political sense I try to sit down and write very strong female roles.
I don't have an audience in mind when I write. I'm writing mainly for myself. After a long devotion to playwriting I have a good inner ear. I know pretty well how a thing is going to sound on the stage, and how it will play. I write to satisfy this inner ear and its perceptions. That's the audience I write for.
And old Dave, he'd go up to his room, y'understand, put on his green velvet slippers - I'll never forget - and pick up his phone and call the buyers, and without leaving his room, at the age of eighty-four, he made his living. And when I saw that, I realized that selling was the greatest career a man could want.
The press don't wake up in the morning simply to be a mouthpiece for pols - they're out to uncover and expose news. That often is at odds with what politicians are setting out to do - it's both symbiotic and antagonistic. They need each other, they work in concert with one another, they work against one another.
If you just look at the fact that a woman was central in twittering the Cairo revolution, and women were central to the Tunisian uprising. Women are at the center of everything right now and moving everything forward. And I do think in the next year or two, we are going to see such a woman spring, such a rising.
One cannot be honest even at the end of one's life, for no one is wholly alone. We are bound to those we love, or to those who love us, and to those who need us to be brave, or content, or even happy enough to allow them not to worry about us. So we must refrain from giving pain, as our last gift to our fellows.
How it is that animals understand things I do not know, but it is certain that they do understand. Perhaps there is a language which is not made of words and everything in the world understands it. Perhaps there is a soul hidden in everything and it can always speak, without even making a sound, to another soul.
Every writer is necessarily a critic - that is, each sentence is a skeleton accompanied by enormous activity of rejection; and each selection is governed by general principles concerning truth, force, beauty, and so on. The critic that is in every fabulist is like the iceberg - nine-tenths of him is under water.
The theater, which is in no thing, but makes use of everything - gestures, sounds, words, screams, light, darkness - rediscovers itself at precisely the point where the mind requires a language to express its manifestations.... To break through language in order to touch life is to create or recreate the theatre.
For the lost are lost by nature, all your ideas of moral regeneration will make no difference, there is AN INNATE DETERMINISM, there is an undeniable incurability in suicide, crime, idiocy, madness, there is an invincible cuckoldry in man, there is a congenital weakness of the character, a castration of the mind.
Each petty hand Can steer a ship becalm'd; but he that will Govern and carry her to her ends, must know His tides, his currents, how to shift his sails; What she will bear in foul, what in fair weathers; Where her springs are, her leaks, and how to stop 'em; What strands, what shelves, what rocks do threaten her.
One person may need (or want) more leisure, another more work; one more adventure, another more security, and so on. It is this diversity that makes a country, indeed a state, a city, a church, or a family, healthy. 'One-size-fits-all,' and that size determined by the State has a name, and that name is 'slavery.'
Our age is so gregarious that there is at present a marked prejudice against anyone being alone. It is looked down on, and a need to be alone is almost considered a fault, a weakness, as though if one cannot endure - more - enjoy being with other people every minute one is aloof, unreal, and somehow to be pitied.
Plays have a celebratory nature that no other form has. Theater always meant celebration, a birthday, a reward for good grades. I felt at home in a theater. I loved being part of an audience. All the rules - the audience has to see the play on a certain date at a certain time in a certain place in a certain seat.
Hopefully this is going to be a trend, the beginning of a movement to reclaim theater for the artist and not commerce. I think there's a level of fatigue. Artists are tired of having to create work that's then coopted by commercial demands. When you begin souping up the car, the car no longer feels like your own.
You become a character in a meta-drama into which your own dramatizing has pitched you. The rewards can be fantastic, the punishments dismal; it's a zero sum game, and its guarantor of value, its marker is that you pretend you play it solo, preserving the myth that you alone are the wellspring of your creativity.
The mathematician who after seeing Phedre asked: 'Qu'est que ca prouve?' was not such a fool as he has been generally made out. No one has ever been able to explain why the Doric temple of Paestum is more beautiful than a glass of cold beer except by bringing in considerations that have nothing to do with beauty.
I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
I've seen some terrible plays, but I generally enjoy myself. One play I walked out of, I have a tremendous respect for the author. That was Robert Wilson, something called 'Network,' which consisted of Wilson sitting on a bunk, the dialogue of the movie 'Network' looped in while a chair on a rope went up and down.
Society functions in a way much more interesting than the multiple-choice pattern we have been rewarded for succeeding at in school. Success in life comes not from the ability to choose between the four presented answers, but from the rather more difficult and painfully acquired ability to formulate the questions.
A play is basically a long, formalistic polemic. You can write it without the poetry, and if you do, you may have a pretty good play. We know this because we see plays in translation. Not many people speak Norwegian or Danish or whatever guys like Ibsen spoke, or Russian - yet we understand Chekhov and the others.
What I wanted to get at is the value difference between pornographic playing-cards when you're a kid, and pornographic playing-cards when you're older. It's that when you're a kid you use the cards as a substitute for a real experience, and when you're older you use real experience as a substitute for the fantasy.
In the two or three or four months that it takes me to write a play, I find that the reality of the play is a great deal more alive for me than what passes for reality. I'm infinitely more involved in the reality of the characters and their situation than I am in everyday life. The involvement is terribly intense.