Tony Kushner Quotes
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I don't know anything about making movies. I'd never been on a film set. I'm really kind of an idiot when it comes to figuring out where objects are in space. If they're both moving, I can't do the math. If you ever see me driving down a road, go somewhere else quickly.
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I feel there's a power in theatre, but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them, remember them a day later or not have any idea what they are about.
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You have a good heart and you think the good thing is to be guilty and kind but it's not always kind to be gentle and soft, there's a genuine violence softness and kindness visit on people. Sometimes self-interested is the most generous thing you can be.
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Imagination can't create anything new, can it? It only recycles bits and pieces from the world and reassembles them into visions... So when we thing we've escaped the unbearable ordinariness and, well, untruthfulness of our lives, it's really only the same old ordinariness and falseness rearranged into the appearance of novelty and truth. Nothing unknown is knowable.
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The body is the garden of the soul.
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I've always been drawn to writing historical characters. The best stories are the ones you find in history.
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But I still read Shaw on a regular basis. What I love is the nakedness of the polemic and the irresistible good humour. For me, 'Major Barbara' is the greatest of all the plays in that it starts from the rational and proceeds to the ecstatic in a spectacular way, and leaves you very confused if you cling to Euclidean logic.
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In a sense, I feel like the job of the artist at all times is essentially the same, which is simply to tell the truth. I mean, I'm nervous about any prescriptions for what a writer should or shouldn't do.
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The work of artists is to find what's humanly possible - possibility's furthest reaches.
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That it should be the questions and shape of a life, its total complexity gathered, arranged, and considered, which matters in the end, not some stamp of salvation or damnation that disperses all the complexity into some unsatisfying little decision - the balancing of scales.
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Nothing's lost forever.
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I make my living now as a screenwriter! Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point. I don’t think anybody does.
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You learn that existence is legible but that you have to have a critical mind if you're going to read it.
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Being on a film set is like being in tech forever. In theater, when you finally finish rehearsing, you go onstage and you do the lights and the sets and you make the machine of the production work. It takes usually about ten days in the theater, two or three weeks if it's a really big musical. I mean, it's hell on earth. You just sit around forever while they adjust the lights. And every playwright with half a brain runs for the hills when tech starts because it's so boring, and you don't want to talk to the director because the director is running this giant machine.
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I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.
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I find writing very difficult. It's hard and it hurts sometimes, and it's scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities.
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God knows I've had productions where there were actors in my plays who were making more money per week than I was.
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The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
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When I teach writing, I always tell my students you should assume that the audience you're writing for is smarter than you. You can't write if you don't think they're on your side, because then you start to yell at them or preach down to them.
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I just wondered what a thing it would be...if overnight everything you owe anything to, justice, or love, had really gone away. Free. It would be...heartless terror. Yes. Terrible, and... Very great. To shed your skin, every old skin, one by one and then walk away, unemcumbered, into the morning.
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It has always seemed to me that Barack Obama has studied intensely and learned a great deal from Lincoln.
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I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
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People are more easily manipulated when they don't have information. If you ensure that kids grow up without basic reading skills, math skills, and so forth, then you ensure that they can't act effectively.
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I think that everybody who writes believes that their work has some kind of use-value, for someone, that there's some need for it, some person or group of people out there has demanded that these words come into being. I think that you do the work for these people. You hope that you can make a living at it. Whatever your ambitions and needs are in that regard, your only real requirement is to try and dig as deeply as you can dig to make sense of the meaning of human existence.