Tony Kushner Quotes
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I'm not religious, but I like God and he likes me.
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You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.
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One of the things I learned in 'Slavs!' is that it's much easier to talk about being gay than it is to talk about being a socialist. People are afraid of socialism, and plays that deal with economics are scarier to them.
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People shouldn't trust artists and they shouldn't trust art. Part of the fun of art is that it invites you to interpret it.
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Artists know that diligence counts as much, if not more, as inspiration; in art, as in politics, patience counts as much as revolution.
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I grew up in a small Southern town, and there were white people and black people. Coming to New York to go to Columbia, every time I went into the subway I was absolutely astounded because you see people from all over the world who actually live here - who aren't just here as tourists.
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A play is never finished. You'll find out how much I mean that when you read my Last Will and Testament.
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I think that it's worthwhile to explore the ways in which you write the person that's writing your plays as opposed to simply assuming that it's all a natural process and there's no design in it. Because your public persona is designed, to a certain extent, and you can have fun and profit at various times doing that.
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In the modern era, it isn't enough to write, you must also be the Writer, with a capital 'W,' and play your part as the protagonist in the cautionary narrative in which you will fail or triumph, be in or out, hot or cold, ride the wheel of fortune.
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Who knows better than artists how much ugliness there is on the way to beauty, how many ghastly, mortifying missteps, how many days of granitic blockheadedness and dismaying ineptitude there is on the way to accomplishment, how partial all accomplishment is, how incomplete?
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The general consensus among historians, among the ones who can handle the fact that 'Lincoln' is, in fact, historical fiction, is that we demonstrate enormous fidelity to history and that, beyond that, we've actually contributed a line of thinking about Lincoln's presidency that's somewhat original.
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The big influence on me was Robert Altman, who, especially in 'Nashville,' transformed my sense of dramatic structure and showed how you could handle overlapping stories.
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I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels,' and it still generates income for me, but it's not enough for me to live on and have health insurance.
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One of the things I love about my job as a playwright or as a screenwriter is that I get to do a lot of research and a lot of thinking and taking a lot of notes before I turn it in.
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I write everything with fountain pens. I don't know why. I've done it since I was bar mitzvahed. I was given a fountain pen, a Parker fountain pen, and I loved it, and I've never liked writing anything with pencils or ball-points.
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I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.
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There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.
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If you're gay and you can't hold hands, or you're black and you can't catch a taxi, or you're a woman and you can't go into the park, you are aware there's a menace. That's costly on a psychic level. The world should be striving to make all its members secure.
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Gay TV has been immensely important in transforming American culture in a more gay-positive direction.
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A handful of works in history have had a direct impact on social policy: one or two works of Dickens, some of Zola, 'Uncle Tom's Cabin' and, in modern drama, Larry Kramer's 'The Normal Heart.'
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Don't be afraid; people are so afraid; don't be afraid to live in the raw wind, naked, alone...Learn at least this: What you are capable of. Let nothing stand in your way.
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I tend to be sort of quiet and shy and awkward in social situations.
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In a way, film and television are in the same sort of traumatic trance that print journalism is. The technology has outpaced our comprehension of its implications.
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My whole life has conspired to bring me to this place, and I can’t despise my whole life.