George C Wolfe Quotes

Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it's a folk-art form, really, at its best. At different times, I've tried to push against it as much as I possibly could, but ultimately, it is a folk-art form.
Musicals spring forth from minstrelsy, vaudeville, melodramas; it was all these things combined to create the form.
My absolutely favorite time of working on a project is the time I spend not knowing what it is. Because the longer you live inside that period, the likelier you are to discover something new.
My first play, 'The Colored Museum,' was done in '86 at the Public Theater.
On different projects, different pieces of you will show up. Sometimes it's surprising which piece shows up.
One of the things I learned very early on was that if you cast the show correctly, and if you've created the right energy in the room, the solution is also in the room. The solution doesn't necessarily come from someone, but if everybody is working in a very steadfast and rigorous way, then everything you're looking for is in the room.
One thing I tend to do is ask actors tons and tons of questions to try to get at what they're thinking but also to expose to them whatever box they've placed their characters in - to blow up that box so the journey can begin.
Our lives are connected in ways we can't imagine. They're connected even before we know they're connected.
Producing has empowered me as an artist in a specific way. It's forced a certain kind of maturity.
Racists are deficient as human beings.
Something that can be so vital at one point can be inconsequential at another. I'm just intrigued by that phenomenon.
Surviving failure is one thing. Surviving success is... is challenging, with the consequences and what you lose along the way.
The best of any artist is in their art.
The black experience, which has nothing to do with my play 'Angels in America,' allowed me to understand the Mormon character. He was the character that couldn't come out to his mother. It allowed me to understand emotional and closeted behavior, because you're so acutely aware of how you're perceived.
The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.
The only rule of a musical is that it must maintain its buoyancy.
The Public Theater requires one to be very public, and writing requires one to be very private.
The rules I sort of live by for my theater career, which I hope to live for my film career, is that if there's something that intrigues me or fascinates me, or I don't know how to do it, then I should do it.
The wonderful thing about theater is that it has so many people involved in the creation of it. The worst thing about theater is that it has so many people involved in the creation of it. That dynamic is thrilling and challenging every time you make a show.
The world doesn't see a lot of gray. The world sees black and white, and then it understands.
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AuthorName
George C. Wolfe
Profession
Playwright
BirthDate
23 September, 1954
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