A Quote by A. A. Gill
I tell you, once a girl's got a dose of novels she's a pushover for iambic pentameter.
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I would talk in iambic pentameter if it were easier.
With Shakespeare, if you're not going to do the iambic pentameter, do some other play.
It's good to have a lot of once-in-a-lifetimes in your lifetime. If you get the chance to skydive, go skydiving. If you're offered a part in a weird Shakespeare play in San Diego, slap on some tights and rock out some iambic pentameter.
I've spent so much time with iambic pentameter that I can now recognize it when I hear it in conversation or a movie - it's like a weird, useless superpower.
Nor are we the culmination of evolution, except in the sense that there has never been another species so bizarrely ingenious that it could create both iambic pentameter and plutonium.
I adored being at the RSC and working on the verse and getting the iambic pentameter right. You just skim across the surface, and the speech is over before you know it. You can just ride along on the music of it.
Here's the deal with 'Bastard.' I loved that show, and for me, it was such a palate cleanser, going from writing urban vernacular and crime to, essentially, iambic pentameter. I loved the mythology of that world based on history, but what it came down to was money.
The hardest part of writing 'William Shakespeare's Star Wars' was probably the sheer amount of iambic pentameter and tiptoeing around certain scenes I knew would be hot-button issues for 'Star Wars' fans.
The conventional wisdom with David Mamet is, you do not change a word. And that agrees with me. If you want to change any of David's words, it's like wanting to change the iambic pentameter in Shakespeare - you should do something else.
The iambic pentameter owes its pre-eminence in English poetry to its genius for variation. Good blank verse does not sound like a series of identically measured lines. It sounds like a series of subtle variations on the same theme.
I think that happens for a lot of people, they have this idea that there's only one type of way to write poetry and that you have to have this information. You have to know about meter, you have to know about form, you have to know about iambic pentameter, and all of that.
Once upon a time there was a girl who wanted to put her fist through a mirror. She would tell everyone it was so that she could see what was on the other side, but really, it was so that she wouldn't have to look at herself. That, and because she thought she might be able to steal a piece of glass when no one was looking, and use it to carve her heart out of her chest.
You know, I used to say, when people say, 'How do you think about what to write about in the poems every week?' And I say, 'Well, I have to turn it in on Monday, so on Sunday nights I turn the shower to iambic pentameter and it sort of works out that way.'
I designed a tattoo for a girl once, and she got it, which I thought was pretty cool. We no longer speak. She'll always remember me, though - I can guarantee that.
The first thing we have to do is get rid of the pentameter. To ditch the pentameter.
What Hamlet suffers from is a lack of zombies. Let us say Rosencrantz and Guildenstern show up—Ho-HO! Now you’ve got something that stirs the, um, something that stirs things that are stirrable. BOOM! A pack of ravenous flesh-eaters breaks open their heads and sucks out their eyeballs. No need for iambic pentameter because they are grunting, groaning annihilators of humanity with no time for meter. You’re not asleep in the back of English class anymore, are you? This is what I’m talking about. Zombies. Learn it, live it, love it.
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