Top 143 Quotes & Sayings by Tony Kushner - Page 3

Before the boiling of blood and the searing of skin comes the secret catastrophe: Before Life on Earth becomes finally merely impossible, it will for a long time before have become completely unbearable.

I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I’m not a pure writer. I use words as the score for kinetic imagistic representations.

I've never seen a great actor do a major role that didn't cost a lot. They're sacrificial animals of a sort.

I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.

I'm not a poet. I wish I was a poet but I'm not. I'm a playwright. And so I have a different set of antecedents.

That it should be the questions and shape of a life, its total complexity gathered, arranged, and considered, which matters in the end, not some stamp of salvation or damnation that disperses all the complexity into some unsatisfying little decision - the balancing of scales.

We can't just stop. We're not rocks-progress, migration, motion is... modernity. It's ANIMATE, it's what living things do. We desire. Even if all we desire is stillness, it's still desire for.

I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.

If you're a playwright, unless you're really lacking in get-up-and-go, you can always get your play up somewhere. You can't necessarily make a living doing it, but theater is about meeting an audience. Plays are not easier to write necessarily, they take less time to write. If you get them up, it's a much more rough-and-tumble kind of existence. I think it's, from my perspective, easier than novel writing.

One of the things I love about my job as a playwright or as a screenwriter is that I get to do a lot of research and a lot of thinking and taking a lot of notes before I turn it in.

Here's the thing about politics: It's not an expression of your moral purity and your ethics and your probity and your fond dreams of some utopian future. Progressive people constantly fail to get this.

Plays can outlast even the opinions of the chief film critic of The New York Times and that reviews, although they feel devastating in the immediate moment, are not remotely as significant as the significance you endow them with on the day that they appear.

I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.

I'm in an odd place right now in New York where I routinely get trashed by every daily drama critic and have a few allies among weekly/monthly drama critics, and you sort of plot these things out and figure it out. But it's just what any writer goes through, periods of favor, periods of disfavor. And the trick is just to keep writing and to not let an obsession.

Constitutional democracy has created astonishing and apparently irreversible social progress. All we're interested in is talking about when government doesn't work.

There are certainly people for whom politics is not a category that helps you understand human existence. In fact, it's kind of a detour into superficiality, and although I disagree with those people, I don't think it's the case that everyone who writes has to write politically or has to write in opposition to the really horrendous things that are going on on a political level in the world today. There are some writers who simply aren't any good at that and really should stay away from it.

Trying every day to tell the truth is hard. There are harder things, of course - arguably, living with lies and meaninglessness, living in despair is harder, but it's hardship disguised as luxury and easier perhaps to grow accustomed to, since truth is usually the enemy of custom. There are harder things than writing, being President Obama, for instance, and having to deal with House Republicans, or trying to fix the leak at the Fukushima reactor, these are harder, but writing is hard.

And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.

Being on a film set is like being in tech forever. In theater, when you finally finish rehearsing, you go onstage and you do the lights and the sets and you make the machine of the production work. It takes usually about ten days in the theater, two or three weeks if it's a really big musical. I mean, it's hell on earth. You just sit around forever while they adjust the lights. And every playwright with half a brain runs for the hills when tech starts because it's so boring, and you don't want to talk to the director because the director is running this giant machine.

In some ways [the Internet]'s definitely an enemy.

We all romp about, grieving, wondering, but with rare exception we mostly remain suspended in the Rhetorical Colloidal Forever that agglutinates between Might and Do.

One is told that you're either a hot writer, or you're finished and you're over. But of course, the more you hang around and the more you become aware not only of what "reputation" is for other writers, but also what your own reputation is, you become aware that it's much more complicated than the conventional media would have you believe.

I try to tighten my heart into a knot, a snarl, I try to learn to live dead, just numb, but then I see someone I want, and it's like a nail, like a hot spike right through my chest, and I know I'm losing.