A Quote by Marisha Pessl
Look at Picasso. O’Neill. Tennessee Williams. Capote. Were these shiny happy people spreading sunshine? No. Only the greatest of personal demons can force you to do powerful work.
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I love Truman Capote, Tennessee Williams, Flannery O'Connor. I read a lot of American writers.
It's just that the characters are speaking their mind. As opposed to it just being an expression, they're actually saying what's on their mind, and that's something that Tennessee Williams is really famous for. Shakespeare does that and Tennessee Williams does that. You crave that, when you're an actor, for sure.
If I had my choice in life I would have had the gifts of Tennessee Williams or Eugene O'Neill. Unfortunately my gifts lie in comedy and so comedy comes fairly easy to me and I occasionally have an idea for a very serious piece and I do it, but the ideas don't come that readily to me.
You are my sunshine my only sunshine. You make me happy when skies are grey. You'll never know dear how much I love you. Please don't take my sunshine away.
I trained as a classical actor in London for three years. We did Tennessee Williams and dialect and accent classes; they were one of my favorite things to do each week. And we'd strip it down to the phonetics and listen to the sound. It was a really interesting way to look at it all.
Music is sunshine. Like sunshine, music is a powerful force that can instantly and almost chemically change your entire mood. Music gives us new energy and a stronger sense of purpose.
When you think about it, what other playwrights are there besides O'Neill, Tennessee and me?
Those who were so long imprisoned in ice and darkness seem to find the sunlight jarring, painful. The longer I walk around with this grief inside me, the more I understand that. It’s as if sunshine is a slap in the face that says, Look, the world’s all bright and shiny! Too bad you’re not.
When I went to Yale, I thought it would be like in Stenford 24 hours a day. Robert Brustein, former dean of the Yale School of Drama and founder of the Yale Repertory Theater was there, and we did all this very serious - I would go so far as to say completely humorless - Eastern European drama, as well as August Strindberg, and Henrik Ibsen, we weren't allowed to do William Shakespeare or Tennessee Williams or Eugene O'Neill. I was not in the right place.
My method is the magpie's: I look for shiny things. That is, I look for concrete material details of daily life, and I look for vigorous prose, which is the only kind I can read for very long. That effectively bars a great deal of scholarly work, but I didn't feel its loss.
I'm not one of those people who's against all-black productions of Tennessee Williams plays, but there are lot more complex and natural ways to bring people of color into the theater.
A lot of people don't know that my background is completely classical. For a while there, I was all about Moliere and the Greeks and Brecht and Tennessee Williams.
When you think about [Truman] Capote in the - was what he did exploitative of a person's life or exploitative of these murders? You look at our culture now, you look at celebrity and how it plays out in our culture now, and Capote was one of the great PR men of his time.
I just think demons are terribly interesting! In Sumerian times, demons weren't seen as evil at all, just as incredibly powerful and very different from us: beings made of fire, when humans were made of earth.
Like sunshine, music is a powerful force that can instantly and almost chemically change your entire mood.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
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