Tony Kushner Quotes
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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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The primary thing I should do, apart from being a good husband, brother, son, and friend, is to be a citizen activist. But I'm afraid it takes away from the writing. Not that anything depends on whether I put an essay in 'The Nation' or not. But you want to participate.
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I'm a sort of political person, and I feel that there's a kind of ineradicably political dimension to theater, to all theater, whether it's overtly political or not.
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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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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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If you're a playwright, unless you're really lacking in get-up-and-go, you can always get your play up somewhere. You can't necessarily make a living doing it, but theater is about meeting an audience. Plays are not easier to write necessarily, they take less time to write. If you get them up, it's a much more rough-and-tumble kind of existence. I think it's, from my perspective, easier than novel writing.
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Justice precedes beauty. Without justice, beauty is impossible, an obscenity. And when beauty has gone, what does a cameraman do with his eye?
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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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If you [c]annot find your [h]eart's desire in your own backyard, you never lost it to begin with
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We all romp about, grieving, wondering, but with rare exception we mostly remain suspended in the Rhetorical Colloidal Forever that agglutinates between Might and Do.
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I don't want to name names because they'd be mad at me if I did, but people who are significant novelists can't get published by real publishers at this point, or have to go through two years of trying after writing a novel that's taken them five or six years and simply can't get the thing in print. Or it gets in print and it doesn't get reviewed in the New York Times Book Review and disappears without a trace. I mean, it's terrifying. I don't know how anybody can stand it. It's such an enormous amount of work and the economics of it are really quite brutal.
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You have a strange relationship with calamity when you're a writer: you write about it; as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.
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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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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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The way you give love is the most profoundly human part of you. When people say it's ugly or a perversion or an abomination, they're attacking the center of your being.
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We can't just stop. We're not rocks-progress, migration, motion is... modernity. It's ANIMATE, it's what living things do. We desire. Even if all we desire is stillness, it's still desire for.
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I certainly wake up every morning and thank God that I'm not a novelist because the theater is tough, but novel writing is infinitely harder. Especially with the economics of serious fiction being what they are in America.
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So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.
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If you have value as an artist it's probably going to be in your capacity to let things inside you get past things that are placed there to keep you from telling the truth. The more you see things as clearly and coldly as you can, the more value you're going to have.
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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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I'm not an experimental artist. I have no talent for that. I need a certain kind of antecedent form to follow.
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I don't know what will happen to me without you. Only you. Only you love me. Out of everyone in the world.
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Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history; if the answer is no, not precisely this way, then it's historical drama.
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I try to tighten my heart into a knot, a snarl, I try to learn to live dead, just numb, but then I see someone I want, and it's like a nail, like a hot spike right through my chest, and I know I'm losing.