A Quote by Joseph L. Mankiewicz

I am a critic - as essential to the theatre as ants to a picnic. — © Joseph L. Mankiewicz
I am a critic - as essential to the theatre as ants to a picnic.
I’ll affect you slowly as if you were having a picnic in a dream. There will be no ants. It won’t rain.
Refreshing failures roll off the travel easel like ants from a picnic blanket.
Ants are more like the parts of an animal than entities on their own. They are mobile cells, circulating through a dense connective tissue of other ants in a matrix of twigs. The circuits are so intimately interwoven that the anthill meets all the essential criteria of an organism.
I am grateful to theatre for making me what I am today. But it's not like theatre is my first love. I am equally attached to cinema, which is, actually, a child of theatre, since it borrows heavily from it.
I am essentially someone who comes from the theatre. I love the theatre. Unfortunately, theatre doesn't pay the bills. Only in theatre abroad, I get a wage.
Night was spreading slowly around the spinning Earth. It should have been full of pinpricks of light. It was not. There were five billion people down there. What was going to happen soon would make barbarism look like a picnic - hot, nasty, and eventually given over to the ants.
A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.
When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.
I think the 'Terminator' idea is a reasonable one - that is that one day the Internet becomes self-aware and simply says that humans are in the way. After all, if you meet an ant hill and you're making a 10-lane super highway, you just pave over the ants. It's not that you don't like the ants, it's not that you hate ants; they are just in the way.
At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
I was crazy into performing when I was younger. I was obsessed with the craft of acting, and theatre, and stage. You know the term 'theatre geek?' I am the extreme theatre geek.
I am an Episcopalian who takes the faith of my fathers seriously, and I would, I think, be disheartened if my own young children were to turn away from the church when they grow up. I am also a critic of Christianity, if by critic one means an observer who brings historical and literary judgment to bear on the texts and traditions of the church.
Asim has done English theatre with Naseeruddin Shah and his group, Hindi theatre with Makarand Deshpande, and Marathi theatre with me. He is a hardworking actor - I am not saying this just because he is my son but as an actor and spectator.
I adore war. It is like a big picnic but without the objectivelessness of a picnic. I have never been more well or more happy.
Unless you are at a picnic, life is no picnic.
Everybody wants to be a critic: a critic without the actual accolades to be a critic.
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