Playwright Quotes

It's weird, because I don't feel prolific. I don't write anything for months at a time.
My friends and family have been so well trained that they know I really mean it when I say that I don't care if the review is good, because that can be as dangerous as when it's bad. It's less demoralizing, but it can be just as confusing.
My mother wanted me to be a writer. But she was a child of the Depression and never understood that she wasn't poor. So, you know, the idea of not having a job, it would creep through. But she tried very hard to be subtle about it.
My usual route is, I do a play at South Coast Rep, then there's time between and I revise it, and then I take it to New York.
People talk about alienation in the city. Diners are a place where you feel comfortable, an extension of your house.
The idea of a rupture between acts occurs in a number of my plays.
When we watch a play under the standard circumstances, we've lost volition and time is passing. A still play feels like an existential threat.
When you're writing plays, it's possible to believe you don't have any real world skill. When you're adapting, it is really all about the mechanics, so you feel closer to, I don't know, an accountant or someone who has a body of information. It's not all about temperament.
You do think, if you have your druthers, 'I want to sort of be, not anonymous, but unknown'. But you don't have your druthers in life, do you?
A lot of people hated every moment of my 'Ring.' And a lot of people who had never been to an opera bought subscriptions to the next season.
A puppet, for example, is just a piece of wood, a couple of rivets, but put them together, and if you know how to do it, and the audience's imagination joins in with this, then a miracle will come out of that machine. That is what we and the audience do in the theatre - we create miracles in that space.
A show is good when there is a meeting of time and space, when time and space become irrelevant.
All of Vegas is false. There's a false Paris, a false Venice, a false Baghdad - in fact, all of the early Vegas aesthetic is Baghdad, which is also the irony. It's 'Aladdin,' the sands, 'One Thousand and One Nights.'
Artists always try to make something that is going to be relevant and up-to-the-minute.
As a kid, my dad moved us to the upper town, which was in a higher class of people, and we would see the lower town below. Every day, we could see where we came from and where we were now.
Chaos is a good thing.
Cirque du Soleil distinguished itself by being a circus with no animals. Before then, circus was partly about showing how man can tame other species.
During the tour of 'Circulations,' we spent a lot of time in Canadian Chinatowns. I was fascinated by the idea that you can cross the road and enter this dream world, this vision of China.
Every time we make a new invention, we think we're going to save the world, but eventually, we understand that the real virtues of that new invention have mostly to do with commerce. Then we feel a huge emptiness, and we want to fill it with beauty.
Everybody loves Vegas, and everybody puts it down, especially intellectuals and artists. We have to rub our feet on it, but we're all secretly thrilled to be there.
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Total Records : 1839

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