A Quote by Loretta Swit
MASH offered real characters and everybody identified with them because they had such soul. The humor was intelligent and it always assumed that you had an intellect.
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M*A*S*H offered real characters and everybody identified with them because they had such soul. The humor was intelligent and it always assumed that you had an intellect.
For instance, on the planet Earth, man had always assumed that he was more intelligent than dolphins because he had achieved so much—the wheel, New York, wars and so on—whilst all the dolphins had ever done was muck about in the water having a good time. But conversely, the dolphins had always believed that they were far more intelligent than man—for precisely the same reasons.
America is so special, everybody wants to go there. And there's not a thought given to how it got special. It's just assumed it was made that way, I guess. It's just assumed that it's just there. And it's also assumed that it's always going to be there. Call it the golden goose or whatever you want but everybody saying that we have no right to keep anybody out because nobody kept us out, we all had to get here. Nobody here now actually started here. Of course, that's no longer true.
My parents weren't around much, but I assumed everybody's family was the same. I didn't know people had mummies and daddies who would give them milk and cookies after school. I just thought everybody lived on Central Park West and they had a nanny to take care of them.
The men began to trade tales of atrocities, first stories they had heard, then those they'd witnessed, and finally the things that had happened to themselves. A litany of personal humiliation, outrage, and anger turned sicklelike back to themselves as humor. They laughed then, uproariously, about the speed with which they had run, the pose they had assumed, the ruse they had invented to escape or decrease some threat to their manliness, their humanness. All but Empire State, who stood, broom in hand and drop-lipped, with the expression of a very intelligent ten-year-old.
Part of doing mash-ups is getting the legal rights to use the songs. If you're going to do a mash-up with five songs, you should probably find 10 songs, because you're only going to get half of them cleared. It's a real collaborative effort.
That's why real awareness always leads you beyond sex, and celibacy happens on its own accord. Because to be in sex you have either to be identified with the male or identified with the female. A real celibate is one who has gone beyond, who is neither.
Always when I directed the play, I was always trying to cast people not who were necessarily like the characters, but people who I felt had the essential component that the character had, some kind of soul for it.
As the three of them walked home from the trees, nobody needed to say it, but Ama knew. They had questioned their friendship. They had searched and wondered, looking for a sign. And all along they'd had their trees. You couldn't wear them. You couldn't pass them around. They offered no fashion advantage. But they had roots. They lived.
I don't have a preference for bad people, no. I have an interest in playing a broad range of characters. Obviously, I'm mostly identified with a character who is very responsible, very solid and very intelligent, but there are plenty of questionable characters in my past career. I'm interested in exploring theatricality and characters with some dimension.
My experience is at The Groundlings Theater, where we created different characters and did sketch comedy. And sometimes the characters were outrageous, but they always came from a real place. So even working there, we had to create characters from the people that we knew.
He knew who I was, at that time, because I had a reputation as a writer. I knew he was part of the Bush dynasty. But he was nothing, he offered nothing, and he promised nothing. He had no humor. He was insignificant in every way and consequently I didn't pay much attention to him. But when he passed out in my bathtub, then I noticed him. I'd been in another room, talking to the bright people. I had to have him taken away.
Nothing I had written before 'Mary Poppins' had anything to do with children, and I have always assumed, when I thought about it at all, that she had come out of the same wall of nothingness as the poetry, myth and legend that had absorbed me all my writing life.
There was a little spell when we had no real leadership at the top but we've always had quality people here, lovely characters to whom Sunderland means an awful lot.
I had a number of different labels. A lot of people assumed I was gay because I was wearing a man's suit, and one had to learn that it's OK, people will do that, and you don't always have to explain it one hundred percent, because they're never going to accept what your own interpretation is. It's all illusory.
I had done drama at university, but I never thought I could be a director. There were so few female directors then. I just assumed you had to be a man to be a director. I also assumed you had to be extremely authoritarian and extremely intellectual, none of which I was.
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