To be, or not to be, that is the question.

To be or not to be. That's not really a question.

To be or not to be isn't the question. The question is how to prolong being.

To be or not to be is not a question of compromise. Either you be or you don't be.

You have a choice. Live or die. Every breath is a choice. Every minute is a choice. To be or not to be.

If you were to ask everyone what 'Hamlet' was about, they might say, "It's about a prince, and he says, 'To be or not to be.'"

To date or not to date that is the question. It's almost as important as Shakespeare's to be or not to be which deals with death.

Five billion people have played Hamlet. 'To be or not to be.' And how do you do that and find your way into your own journey, your own way of telling it?

I was emotional. I wanted to be taken seriously. I was pretty emo. I was reciting Shakespeare monologues when I was 10. I still know the whole 'To be, or not to be...' monologue, because I knew it when I was 10.

Often and often must he have thought, that, to be or not to be forever, was a question, which must be settled; as it is the foundation, and the only foundation upon which we feel that there can rest one thought, one feeling, or one purpose worthy of a human soul.

One of the most beautiful things about Shakespeare's Hamlet is when he stops in the middle of the play to ask, 'To be or not to be?' Then, right at the end, he decides to 'let be.' The first season of 'Stranger Things' was Hopper asking whether 'to be or not to be' and the second is to 'let be.'

My first book, 'To Be or Not To Be,' took 'Hamlet' and converted it to the choose-your-own-path format. It was a great fit for a book where you control what happens - a book as game - because the plot of 'Hamlet' is very game-like: get a mission from a ghost to kill the final boss, kill the final boss, and game over. You win.

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