A Quote by Donald Margulies

I like to flip through play scripts, not just my own; there is something exciting about seeing printed language on a page that triggers responses in me. — © Donald Margulies
I like to flip through play scripts, not just my own; there is something exciting about seeing printed language on a page that triggers responses in me.
I am a little old fashioned, and I love to have my scripts printed out. There is something magical about feeling the paper, making notes and page marks.
When I discovered that, through acting, you can speak a beautiful language aloud and have a relationship to language that isn't one that's just eyes-to-page, pen-to-page - it's one that's full-bodied, full-voiced, full-heart... it really opened my heart and made me feel like I could be a storyteller.
With the casting in Israel, sometimes there were four or five people, that you could just flip a coin and choose from, that would have been all terrific. And seeing all of these fabulous faces that the American audiences are just not used to seeing is really exciting.
I try to read everything that's sent me - play scripts, movie scripts - but I've had to make a rule. If the author hasn't grabbed me by Page 25, the piece goes back with a note of apology.
Lots of people can write a good first page but to sustain it, that's my litmus test. If I flip to the middle of the book and there's a piece of dialogue that's just outstanding, or a description, then I'll flip back to the first page and start it.
The printed page transcends space and time. The printed page, the infinity of the book, must be transcended.
It's nice to see my work recognized as being worth something beyond the printed page, and it was very cool seeing Thanos up on the big screen.
Perhaps there's another, much larger story behind the printed one, a story that changes just as our own world does. And the letters on the page tell us only as much as we'd see peering through a keyhole. Perhaps the story in the book is just the lid on a pan: It always stays the same, but underneath there's a whole world that goes on - developing and changing like our own world.
I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
I just feel like it's fascinating to me just watching my own family, seeing my cousins have children here, seeing the generations go on, and seeing how people are still very connected to their home, but are actually, of course, Americans too. That sort of a hybrided sense of self is something that I yearn to see more of expressed.
Or, to express this in another way, suggested to me by Professor Suzuki, in connection with seeing into our own nature, poetry is the something that we see, but the seeing and the something are one; without the seeing there is no something, no something, no seeing. There is neither discovery nor creation: only the perfect, indivisible experience.
I enjoy working with writers and their scripts. It's very exciting to me. Eventually I would like to produce, direct and act onstage, but it's not a heavy pressure. When I do it, I want to do it well. I'm just educating myself with writers and scripts, because I didn't read a lot of books when I was growing up.
Dream projects are always a funny thing to label. I guess just more exciting scripts in my inbox. Maybe an exciting script about John Lennon.
The printed page was like wine to me.
There's something fascinating about seeing something you don't like at first but directly know you will love—in time. People are that way, all through life. You come against a personality, and it questions yours. You shy away but know there are gratifying secrets there, and the half-open door is often more exciting than the wide.
You might see a female, and she triggers something, or you see an old lady walking down the street, she triggers something. You go to Africa, you see the vibes, that triggers something.
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