Tony Kushner Quotes
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I could give you absolutely sterling advice on how to avoid writing, how when you run out of things to do other than going to your desk and writing, when every closet is reorganized and you've called your oldest living relative twice in one day to see what she's up to and there isn't an unanswered e-mail left on your computer or you simply can't bear to answer another one and there is no dignity, not a drop left, in any further evasion of the task at hand, namely writing, well, you can always ask your dentist for a root canal or have an accident in the bathtub instead.
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You don't go to the movies to do historical research, unless it's historical research about the movies.
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Before the boiling of blood and the searing of skin comes the secret catastrophe: Before Life on Earth becomes finally merely impossible, it will for a long time before have become completely unbearable.
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As much as I hate his movies, Oliver Stone has an aspiration I admire, and that is that he wants his art to be part of what makes and changes public policy and cultural practice.
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What makes the voice pathetic is that it doesn't know what kind of people it's reaching. Us. No one hears it, except us. This Age wanted heroes. It got us instead: carefully constructed, but immobile. Subtle but, unfit to take up the burden of the times. It happens. A whole generation of washouts. History says stand up, and we totter and collapse, weeping, moved, but not sufficient.
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I'm in an odd place right now in New York where I routinely get trashed by every daily drama critic and have a few allies among weekly/monthly drama critics, and you sort of plot these things out and figure it out. But it's just what any writer goes through, periods of favor, periods of disfavor. And the trick is just to keep writing and to not let an obsession.
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Theatre for a New Audience is one of America's most admirable and exciting theatre companites...some of the best acted and directed work to be found on American stages, engaging with the canon of world dramatic literature in a vigorous way.
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A play should have barely been rescued from the mess it might just as easily have been.
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But I think what made me go into theater was seeing my mother onstage. The first thing she did was Mrs. Frank in 'The Diary of Anne Frank.' The second thing she did was a play about Freud called 'The Far Country.' She played a paralyzed woman in Vienna who goes to see Freud.
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When I'm writing a new play, there's a period where I know I shouldn't be out in public much. I imagine most people who create go through something like this. You willfully loosen some of the inner straps that hold your core together.
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Trying every day to tell the truth is hard. There are harder things, of course - arguably, living with lies and meaninglessness, living in despair is harder, but it's hardship disguised as luxury and easier perhaps to grow accustomed to, since truth is usually the enemy of custom. There are harder things than writing, being President Obama, for instance, and having to deal with House Republicans, or trying to fix the leak at the Fukushima reactor, these are harder, but writing is hard.
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One is told that you're either a hot writer, or you're finished and you're over. But of course, the more you hang around and the more you become aware not only of what "reputation" is for other writers, but also what your own reputation is, you become aware that it's much more complicated than the conventional media would have you believe.
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When I used to teach writing, what I would tell my playwriting students is that while you're writing your plays, you're also writing the playwright. You're developing yourself as a persona, as a public persona. It's going to be partly exposed through the writing itself and partly created by all the paraphernalia that attaches itself to writing. But you aren't simply an invisible being or your own private being at work. You're kind of a public figure, as well.
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I love reading; it's a great way to avoid writing.
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Unions are susceptible to the same ills that befall all human societies.
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I have kind of an almost religious feeling about poets. I usually refuse to meet them because I admire them so much. Except for Poe.
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I've never seen a great actor do a major role that didn't cost a lot. They're sacrificial animals of a sort.
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The computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.
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The theater requires an essential gullibility that you can't get through life without having. If all you can feel is skepticism-well , you meet people like this. Run away from them. They're not good people.
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Constitutional democracy has created astonishing and apparently irreversible social progress. All we're interested in is talking about when government doesn't work.
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There's a way in which 'The Illusion' is a play about the theater.
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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.
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One has to have a complicated kind of optimism. You can't refuse to look at how horrible things are.
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The body is the garden of the soul.