Quotes of All Topics . Occasions . Authors
Nothing is funnier than unhappiness.
Samuel Beckett. He is a kind of hero for me.
The sun shone, having no alternative, on the nothing new.
The first play I saw was a Samuel Beckett play which was great.
These are your beautiful days, Julia Beckett," he promised softly.
Beckett had an unerring light on things, which I much appreciated.
Beckett's 'Stories and Texts for Nothing' is probably my favorite book.
As Beckett said, it's not enough to die, one has to be forgotten as well.
Ibsen, Chekhov, Shakespeare, and Beckett to me are the most revolutionary.
Look at Sam Beckett. Most depressed man who ever lived, but he sure was funny.
I admire [Samuel] Beckett, but I am totally against him. He seeks no improvement.
My favorite playwright is probably Samuel Beckett, and he was always laughing at the abyss.
I am not interested in living in a city where there isn't a production by Samuel Beckett running.
Samuel Beckett's estate will not license productions of his plays that are not performed as written.
The writers we tend to universally admire, like Beckett, or Kafka, or TS Eliot, are not very prolific.
All really great artists, Jackson Pollack, John Cage, Beckett or Joyce - you are never indifferent to them.
My exposure to Beckett and to late O'Neill was probably important right at the time I gave up poetry and the novel.
[Contemporary writer] could be a kind of [Samuel] Beckett who would not be felt to be totally committed to despair.
Discovering Samuel Beckett in college was a big deal for me. I realized you could be very funny and very dark at the same time.
Food is a necessary component to life. People can live without Renoir, Mozart, Gaudi, Beckett, but they cannot live without food.
I don't think there's been any writer like Samuel Beckett. He's unique. He was a most charming man and I used to send him my plays.
He [Samuel Beckett] is great, a very great writer. Any modern writer is bound to be influenced by [James] Joyce. Of course, by Beckett as well.
I'd never done any Beckett before 'Krapp,' and I haven't done any of his other plays since. I've always felt that 'Krapp' is an autobiographical piece.
Where do I begin? I loved working with Kate Hepburn, which was one of the highlights of my life; Working with Richard Burton in Beckett was another great joy.
We grew up on Harold Pinter, Sam Shepard, Samuel Beckett. You're making something about men on the verge of a nervous breakdown, you're going to look to those guys.
All of a sudden we were going on school trips, seeing these amazing plays by the likes of Samuel Beckett. My whole world went from 'This is really fun' to 'This is fascinating to me'.
There's something hopeful about 'Endgame.' Beckett strips everything away and asks what remains. There's this surgical dissection of the soul, but at the bottom, you find shafts of light.
I spent a lot of time in college studying theater of the absurd and Beckett and Genet, and then I spent a lot of time after that at 'Gossip Girl' auditions, thinking, 'Wow, I really wasted my money.'
I've played Beckett. I put on in the 1950s the first Australian production of 'Waiting for Godot.' I played Estragon. The most interesting conversation I've had about Beckett was with a Dublin taxi driver.
There's always a host of voices you're inspired by. I love Don DeLillo, and I love Isaac Bashevis Singer, and I love Beckett, and I love Pinter. He's one of the funniest voices in English literature since Dickens.
I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.
Fairy tales, before they were sanitized, were very dark, and kids love that. 'Coraline' by Neil Gaiman feels like Beckett for kids. I think there's plenty of room for that. And I think there's a danger of being too patronizing to children, having things too sanitized.
Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.