Patrick Marber Quotes
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No one ever wanted to see it as anything other than a boring play about a middle-aged man having a mid-life crisis. I think it’s about rather more than that - or maybe it’s not. Maybe that’s exactly what it is about.
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Lying is the most fun a girl can have without taking her clothes off. But it's better if you do.
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But I'm the sort of person who, if certain structures topple, it could all go horribly wrong.
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We arrive with our...'baggage' and for a while they're brilliant, they're 'Baggage Handlers.' We say, 'Where's your baggage?' They deny all knowledge of it...'They're in love'...they have none. Then...just as you're relaxing...a Great Big Juggernaut arrives...with their baggage. It Got Held Up. One of the greatest myths men have about women is that we overpack.
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When you're in your early 20s your love life seems to explode every 20 minutes or so. By the time you've reached your thirties, it is every five or ten years.
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When I look back I can't believe I was so stupid as to direct Dealer's Choice.
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It doesn't really feel like it's got anything to do with me. I mean, I know I wrote it, and all that and invented the characters and made it up, but it's Mike's film, so doing the press and stuff, it feels a little bit inauthentic. I was just one component of it.
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It's one of the reasons I don't do drugs. One sniff and I'd go all the way.
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A couple of flop plays, a death in the family, and it could all collapse.
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Always when I directed the play, I was always trying to cast people not who were necessarily like the characters, but people who I felt had the essential component that the character had, some kind of soul for it.
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I'm a happily married man and I think to get married you have to be optimistic.
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I'm constantly having to be vigilant with a depressive tendency, an addictive tendency.
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The trite answer is that everything is true but none of it happened. It is emotionally true, but the events, the plotting, the narrative, isn't true of my life, though I've experienced most of the emotions experienced by the characters in the play.
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I like them all - I don't always approve. I see myself as a sort of benevolent uncle to these characters, and I can see why they do what they do; sometimes they make some mistakes, but at heart I think they're decent.
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I'm a Golden Globe nominee, yes. It's very nice. It's a very nice thing, but I kind of think of all the awards I wasn't ever nominated for, for years and things.
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But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
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I know it's a film and all of that, and it's a Hollywood film, but it kind of feels like this sometimes, when you're in pain and it hurts, and you're desperate. Or you are about to cross some moral line and it's so seductive and you just do... and all that.
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I hoped the dramatic power of the play would rest on that tension between elegant structure - the underlying plan is that you see the first and last meeting of every couple in the play - and inelegant emotion.
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We've all seen 'Jewing it up' performances. They are about as miserable to watch as as 'camping it up' performances when representing gays.
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Theatre is how I first encountered art on any level.
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I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.
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I used to go with my parents and loved it, I was in school plays, and I started reading plays before I started reading novels. I'll defend it to the hilt. When theatre is good it is fabulous.
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I love everything about you that hurts.
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I was thinking in the cab on the way here that when I did press for the original production it felt like this was what I’ve always dreamt of - to be talking about myself, and about a play that I’ve written, and to be photographed. It was what I wanted. Now it’s just part of the job.