A Quote by John Malkovich
The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'
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On some positions, Cowardice asks the question, 'Is it safe?' Expediency asks the question, 'Is it politic?' And Vanity comes along and asks the question, 'Is it popular?' But Conscience asks the question, 'Is it right?'
Science only answers the question, How does it work? Or at most, What's there? Science asks what and how, philosophy asks why, myth and religion ask who. Who's in charge here? Who's the author? That's what we really long to know.
In my opinion there are two basic questions that any writer tries to answer. "What is?" is the question non-fiction asks. "What if?" is the question fiction asks. That's the question I'm more interested in.
the more humdrum aspects of life do not make for gripping reading. To render them compelling, a writer must describe the universal in eloquent and evocative prose. Alas, Frey's writing suggests that this was not an option, and he came up with something else.
As a writer, I have to admit, there is something darkly compelling about Alzheimer's because it attacks the two things most central to a writer's craft - language and memory, which together make up an individual's identity. Alzheimer's makes a new character out of a familiar person.
If I had to summarize, most broadly, my concerns as a writer, I'd say the question 'How then must we live?' is at the heart of it, for me.
When I meet with most entrepreneurial teams, I ask them a simple question: How do you know that you're making progress? Most of them really can't answer that question.
Definitely, when anyone asks me what I eat - I think that's the most disrespectful thing. There's no winning with that question.
If anyone asks me about the George Martin years I usually say I group all of that stuff together as the single greatest experience but I wasn't scared I was just really looking forward to it.
"Which side are you on" asks a question. That's one of the most powerful, persuasive ways to make a case, to say something, to advertise something or to communicate it. Don't make a statement. Ask a question.
The Q I loathe and despise, the Q every single writer I know loathes and despises, is this one: 'Where,' the reader asks, 'do you get your ideas?' It's a simple question, and my usual response is a kind of helpless, 'I don't know.'
When you have half of Caironese in slums, when you don't have clean water, when you don't have a sewer system, when you don't have electricity, and on top of that you live under one of the most repressive regimes right now... Well, put all that together, and it's a ticking bomb. It's not of a question of threat; it is question of looking around at the present environment and making a rational prognosis.
It's quite rare for a group of people to come together for a live event that isn't loud music. A live event that enables thinking to take place, to take place collectively. It's unique to theatre. It's a quality I never want to see diminished.
On some positions, cowardice asks the question, is it expedient? And then expedience comes along and asks the question, is it politic? Vanity asks the question, is it popular? Conscience asks the question, is it right? There comes a time when one must take the position that is neither safe nor politic nor popular, but he must do it because conscience tells him it is right.
The most uninteresting thing for me is when somebody thinks too much about how they put themselves together.
My philosophy on choreography is that the making of a ballet is a team effort, and we're in this together. It's not me hammering on them. It's more about how we can elevate this piece collectively to something great.
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