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I know the British press is very attached to the lobby system. It lets the journalists and the politicians feel proud of their traditional freedoms while giving the reader as much of the truth as they think is good for him.
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Nowadays, an artist is someone who makes art mean the things he does.
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I'm the kind of person who embarks on an endless leapfrog down the great moral issues. I put a position, rebut it, refute the rebuttal and rebut the refutation. Endlessly.
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The truth is, we value your company, for want of any other. We have been left so much to our own devices—after a while one welcomes the uncertainty of being left to other people's.
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My mind gets into a verbal mode.
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It takes character to withstand the rigours of indolence.
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One bulls-eye and you're rich and famous. The rich get more famous and the famous get rich. You're the talk of the town....The sense of so much depending on success is very hard to ignore, perhaps impossible. It leads to disproportionate anxiety and disproportionate relief or disappointment.
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Since we cannot hope for order, let us withdraw with style from the chaos.
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And for the last three minutes on the wind of a windless day I have heard the sound of drums and flute.
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I burn with no causes.
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I write plays because dialogue is the most respectable way of contradicting myself.
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I'm vaguely embarrassed by myself sometimes.
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When we have found all the mysteries and lost all the meaning, we will be alone, on an empty shore.
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Pirates could happen to anyone.
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Sometimes I watch a scene I've written, and occasionally I think, "Oh, for God's sake, shut up."
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I've seldom minded other people's opinions, but the other side of that coin is that I've seldom been interested by them, um their opinions about me I mean.
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I'm hopeless at looking into myself and trying to see how things are working and why.
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Left to themselves people are noble, generous, uncorrupted, they'd create a completely new kind of society if only people weren't so blind, stupid and selfish.
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I write for film or, in this case, television when I haven't got a play cooking.
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The fact is, I loved being English. I was very happy to be turned into an English schoolboy.
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Whatever became of the moment when one first knew about death? There must have been one. A moment. In childhood. When it first occurred to you that you don’t go on forever. It must have been shattering, stamped into one’s memory. And yet, I can’t remember it.
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I can't remember what my first script was.
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My work always tried to unite the true with the beautiful; but when I had to choose one or the other, I usually chose the beautiful.
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It's the best possible time to be alive, when almost everything you thought you knew is wrong.