A Quote by David Henry Hwang
My new play 'Chinglish,' which will go to Broadway, is about a white American businessman who goes to a provincial capital in China, hoping to make a deal there. It's bilingual. And it's about trying to communicate across language and cultural barriers.
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If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
As soon as I saw 'Chinglish' on Broadway, I began to envision this smart and insightful cross-cultural comedy as a film.
For me, language is about the impossibility of communicating what we precisely wish to communicate and this gorgeous attempt that we make to do that anyway. I love that we will never say exactly what we mean, but we will forever keep trying.
Music does communicate across language and racial and religious and philosophical barriers. It is one of the most distilled forms of human emotions.
I just want to say that 'Minari' is about a family. It's a family trying to learn how to speak a language of its own. It goes deeper than any American language and any foreign language.
I think in theory, the United States finds it much easier to deal with situations where there is a leading country. You can go to the leaders of that country and say, for example, to India, "There are all these problems in Bangladesh, we really have to do something about it, what do you suggest we can do to work out a common policy?" But when you don't have the equivalent of India, you have to go capital to capital trying to put together a coalition, which is extraordinarily difficult, especially in the Arab world, because of the historic rivalries and branches of Islam.
My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.
There ain't no rules here, we're trying to accomplish something...All this talk about rules...When the deal goes down...we make 'em up as we go along.
Even if you're lucky to have a play on Broadway like 'Chinglish,' you don't necessarily earn enough off it to support the years it takes to get there.
My tax dollar, which goes to New York State Council on the Arts, is by and large only spent to fund people from the state of New York! And you want to be the cultural capital of the world?
I want to deal with the homeless situation here in Washington, D.C. I think it is a travesty that we've got men - and increasingly women - families, across the street and the in shadow of this great capital, that shows a lack of concern, not just for the capital, but for American, when we are allowing something like that to happen.
How young people are represented betrays a great deal about what is increasingly new about the economic, social, cultural and political constitution of American society and its growing disinvestment in young people, the social state and democracy itself.
There is a growing recognition about China as a power in the ascent, and there is a question out there about what China will do with their new ascension.
Music is such a great communicator. It breaks down linguistic barriers, cultural barriers, it basically reaches out. That's when rock n' roll succeeds, and that's what virtuosity is all about.
I believe that there are barriers, educational barriers, cultural barriers, societal barriers, that are keeping people from accessing the promise of a vibrant free enterprise economy.
One of the special characteristics of New York is that it is different from a London or a Paris because it's the financial capital, and the cultural capital, but not the political capital.
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