Playwright Quotes

My inspiration came especially in the 1950s through the Vienna Group founded by writer H.C. Artmann. It showed me that if you want to say something, you have to let the language itself say it, because language is usually more meaningful than the mere content that one wishes to convey.
My writings are limited to depicting analytically, but also polemically, the horrors of reality. Redemption is the speciality of other authors, male and female.
The smaller a group, the easier it is for more people to argue and enter into discussions. The U.S. is vast. It's too large. The intellectuals hide out in enclaves, in big cities or universities, like a bunch of chickens hiding from a fox.
When I write, I have always tried to be on the side of the weak. The side of the powerful is not literature's side.
I became frustrated early on as a playwright by a kind of smug smallness in modern drama. There was a lack of what I now understand as courage in the work of others as well as in my own work, and I found I was mildly amused or interested by such plays but not deeply engaged or enlightened.
I don't do my best work while I'm in therapy. I'm too onto myself immediately seeing meanings in things and more likely to censor myself. I'd rather find images I don't understand. That's what generates the work.
I go to the theater because I need help dealing with my life; I want to see the greatest questions addressed. I need to see actors grappling with things that matter.
I just realized at some point that I was hopelessly in love with the theater. I fought it for a long time because I thought theater was for, you know, insufferable actors.
I'm an actor and a playwright, and I don't earn much.
I'm very comfortable in the air. And if you're really in love with flight, you're in love to a certain extent with being outside of the body, not grounded. The problem is, if you're not in your body, you can't actually feel anything particularly authentically.
In 'Angels in America,' I got to fulfill a lifelong dream. I was in the air eight nights a week for two years, and I just loved it.
Not just my parents, but teachers, friends, mentors - a host of people are to be thanked for any success I have had, and a whole lot of just plain luck.
One of the reasons I admire David Lindsay-Abaire's work is that he, like the Greeks I've spent so much of my professional life contemplating, is not afraid of taking on the big stuff - huge, human, moral issues - what do we owe to those we love?
The more you head into the maelstrom, the more vulnerable you are, of course. But it's what you owe to whatever gift you have.
The sensation of flying is incredible, and it's such a miraculous notion to go into the air and see the world without delineation.
When I was in high school, I was going to be a painter because I had a facility for painting. I could do it, but I didn't have anything to say in that medium.
But, yes, I learned everything working in theater. I learned the importance of community - I was constantly going to play readings, stand-up nights, improv. nights.
Dysfunctional co-dependent relationships always appeal to me. I don't know exactly how it started. I start writing sketches of characters and little scene-lets, and then it builds.
Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.
Every show is unique, some shows have the master plan and have everything figured out and that's just the way they do things. It's like high school. Some people write their papers the second they get their assignments, and some people write it the day after it's due. I am the latter.
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