Tom Stoppard Quotes
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All your life you live so close to truth, it becomes a permanent blur in the corner of your eye, and when something nudges it into outline it is like being ambushed by a grotesque.
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A healthy attitude is contagious but don't wait to catch it from others. Be a carrier.
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For all the compasses in the world, there's only one direction, and time is its only measure.
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For a long time I managed to think two things simultaneously, that I am actually a good playwright, and that the next time I write a play I will be revealed as someone who is no good at all.
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Autumnal -- nothing to do with leaves. It is to do with a certain brownness at the edges of the day ... Brown is creeping up on us, take my word for it ... Russets and tangerine shades of old gold flushing the very outside edge of the senses... deep shining ochres, burnt umber and parchments of baked earth -- reflecting on itself and through itself, filtering the light. At such times, perhaps, coincidentally, the leaves might fall, somewhere, by repute. Yesterday was blue, like smoke.
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We must be born with an intuition of mortality. Before we know the word for it. Before we know that there are words. Out we come, bloodied and squalling, with the knowledge that for all the points of the compass, there's only one direction. And time is its only measure.
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I don't think I can be expected to take seriously any game which takes less than three days to reach its conclusion.
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Plays...Maidens aspiring to Godheads and vice versa!
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It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do.
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Between "just desserts" and "tragic irony" we are given quite a lot of scope for our particular talent. Generally speaking, things have gone about as far as they can possibly go when things have got about as bad as they reasonably get.
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When you stir your rice pudding, Septimus, the spoonful of jam spreads itself round making red trails like the picture of a meteor in my astronomical atlas. But if you stir backwards, the jam will not come together again. Indeed, the pudding does not notice and continues to turn pink just as before. Do you think this is odd?
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Dying is not romantic, and death is not a game which will soon be over... Death is not anything... death is not... It's the absence of presence, nothing more... the endless time of never coming back... a gap you can't see, and when the wind blows through it, it makes not sound.
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Actors! The mechanics of cheap melodrama! That isn't death! You scream and choke and sink to your knees but it doesn't bring death home to anyone- it doesn't catch them unawares and start the whisper in their skulls that says- 'One day you are going to die.
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I still believe that if your aim is to change the world, journalism is a more immediate short-term weapon.
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All mystical experience is coincidence; and vice versa, of course.
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You can't treat royalty like people with normal perverted desires.
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We are tied down to a language which makes up in obscurity what it lacks in style.
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Wars are fought for oil wells and coaling stations; for control of the Dardanelles or the Suez Canal; for colonial pickings to buy cheap in and conquered markets to sell dear in. War is capitalism with the gloves off.
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Audiences know what to expect, and that is all that they are prepared to believe in.
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In January 1962, when I was the author of one and a half unperformed plays, I attended a student production of 'The Birthday Party' at the Victoria Rooms in Bristol. Just before it began, I realised that Harold Pinter was sitting in front of me.
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The colours red, blue and green are real. The colour yellow is a mystical experience shared by everybody.
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I was interested by the idea that artists working in a totalitarian dictatorship or tsarist autocracy are secretly and slightly shamefully envied by artists who work in freedom. They have the gratification of intense interest: the authorities want to put them in jail, while there are younger readers for whom what they write is pure oxygen.
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There is presumably a calendar date a moment when the onus of proof passed from the atheist to the believer, when, quite suddenly, secretly, the noes had it.
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Biography is the mesh through which real life escapes.