A Quote by Robert Eggers
We grew up on Harold Pinter, Sam Shepard, Samuel Beckett. You're making something about men on the verge of a nervous breakdown, you're going to look to those guys.
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I actually grew up around the corner from where Harold Pinter did. If you want a snapshot of my childhood, me and Pinter, we essentially grew up together.
Sam Shepard is - I didn't tell this to Sammy, but if I had to point to one artist that made me want to do this for my life, it's Sam Shepard.
There are not many intellectuals left of Harold Pinter's stature who dare raise their voices - and with such force - against the menace of U.S. and the unrestricted use of its power. Pinter's voice is an unceasing thunder.
Samuel Beckett is the person that I read the most of - certainly the person whose books I own the most of. Probably 800 or 900, maybe 1,000 books of just Samuel Beckett. By him, about him, in different languages, etc. etc. Notebooks of his, letters of his that I own, personal letters - not to me, but I bought a bunch of correspondence of his. I love his humor, and I'm always blown away by his syntax and his ideas. So I keep reading those.
[Harold Pinter] is a British playwright and is one of my favorite writers. Harold was very obsessed with when memory becomes mythology, that at some point you change your memory to fit who you believe you are.
I've always liked texts that you immediately understand. I suppose the playwrights who really speak to me are Edward Bond, Joe Orton and Harold Pinter. I've been in six different Pinter productions - I love the clarity of his language. He has this way of using words - there's a thrill to them.
At Princeton I wrote my junior paper on Virginia Woolf, and for my senior thesis I wrote on Samuel Beckett. I wrote some about "Between the Acts" and "Mrs. Dalloway'' but mostly about "To the Lighthouse." With Beckett I focused, perversely, on his novels, "Molloy," "Malone Dies," and "The Unnamable." That's when I decided I should never write again.
It was a struggle to find myself. I was on the verge of a nervous breakdown. There were too many defeats. I finally admitted defeat and went into therapy.
When I grew up Carl Lewis was still running, Maurice Greene was running - he was that figure I see, like Michael Johnson. I really wanted to look up to the fast guys - so those two guys were some of the guys I looked up to.
When I grew up, and I think about City Council, I look at the men and women then - these were people who just wanted to be a part of the community and give something back. They weren't necessarily trying to use it as a steppingstone to something else. I looked up to those people.
When I was a very young student I loved and admired the work of Sam Beckett, who is famously pessimistic, and whose writing is an extraordinary examination of emptiness. I wanted to be like Beckett. I don't have the same attitude toward the world, I'm naturally optimistic, and so of course I could never be like Beckett. You can't force yourself to become like someone you admire.
He [Samuel Beckett] is great, a very great writer. Any modern writer is bound to be influenced by [James] Joyce. Of course, by Beckett as well.
Look at Sam Beckett. Most depressed man who ever lived, but he sure was funny.
I really didn't know much about theater. After I signed on, I started reading a lot of Sam Shepard plays just to brush up on my history and do some research.
I grew up going to Dodger Stadium and I would look out there on the field with my dad and say, 'Man, those guys are superstars.' And they were. But they almost had this extraterrestrial feel to them, like it wasn't achievable. It wasn't a tangible goal because I didn't know anything about the players.
Scoring, that's my thing... Didier Drogba, Samuel Eto'o, those were the guys that we looked at as kids like, 'Man, they're doing it, and they're doing it at a high level.' We would see them on TV. So, it wasn't much about basketball, to be honest, it was just those type of athletes. Those guys were the guys that we looked at as kids.
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