A Quote by Simon McBurney
Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.
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In my opinion, there's nothing new in the theatre, ever. Theatre-makers are thieves, in the honourable tradition of charlatans. They fake it very, very well indeed for the entertainment of everybody else.
What do you mean less than nothing? I don't think there is any such thing as less than nothing. Nothing is absolutely the limit of nothingness. It's the lowest you can go. It's the end of the line. How can something be less than nothing? If there were something that was less than nothing, then nothing would not be nothing, it would be something - even though it's just a very little bit of something. But if nothing is nothing, then nothing has nothing that is less than it is.
I've been in situations where I've said to young people: "You're so personable, you're so articulate, you're clearly so bright, you're so good-looking - feel better about yourself!" But if at the core if you don't, all those words mean nothing. Absolutely nothing.
There's nothing essentially romantic about things like roses or jewelry. Romance starts as some blank concept, and then you just fill it in with objects so you have something to point to when you want to make it real.
One of the best rules anybody can learn about investing is to do nothing, absolutely nothing, unless there is something to do. Most people – not that I’m better than most people – always have to be playing; they always have to be doing something. They make a big play and say, “Boy, am I smart, I just tripled my money.” Then they rush out and have to do something else with that money. They can’t just sit there and wait for something new to develop
The Tao teaches us to let go of things. Use the 80/20 rule. If you take all your clothes, you'll find out that you only wear 20 percent of them. Take what you have and don't use and circulate it. Give stuff to people who truly need it. After all, we come into this world with nothing; we leave this world with nothing.
Don't take anything personally. Even when a situation seems so personal, even if others insult you directly, it has nothing to do with you. Their point of view and opinion come from all the programming they received growing up. When you take things personally, you feel offended and your reaction is to defend your beliefs and create conflict. You make something big out of something so little because you have the need to be right and make everybody else wrong.
You have to believe in yourself and you have to take risks. You know how people say 30 is new 20 and 40 is new 30? Well I think essentially what that's telling us is there are so many opportunities out there, you don't have to rush into something.
I want people to know where I come from. I think I have come really far from that, and I did it on my own. It's sort of the American dream to come from absolutely nothing and to succeed while still doing something that you love. Not compromising yourself in any way. I hope I'm making Jersey proud in that way.
The way I make art - the way a lot of people make art - is as an extension of language and communication, where references are incredibly important. It's about making a work that is inspired by something preexisting but changes it to have a new value and meaning that doesn't in any way take away from the original - and, in fact, might provide the original with a second life or a new audience.
What is literary tradition? What is a classic? What is a canonical view of tradition? How are canons of accepted classics formed,and how are they unformed? I think that all these quite traditional questions can take one simplistic but still dialectical question as their summing up: do we choose tradition or does it choose us, and why is it necessary that a choosing take place, or a being chosen? What happens if one tries to write, or to teach, or to think, or even to read without the sense of a tradition? Why, nothing at all happens, just nothing.
Nothing we do in this great capital can change the fact that factories or information can flash across the world, that people can move money around in the blink of an eye... Nothing can change the fact that technology can be adopted, once created, by people all across the world and then rapidly adapted in new and different ways by people who have a little different take on the way that technology works.
We were trying to make our lives easier, trying, with all our rules, to make life effortless. But a friction began to arise between Nothing and Something, in the morning the Nothing vase cast a Something shadow, like the memory of someone you've lost, what can you say about that, at night the Nothing light spilled from the guest room spilled under the Nothing door and stained the Something hallway, there's nothing to say.
He misses the feeling of creating something out of something. That’s right — something out of something. Because something out of nothing is when you make something up out of thin air, in which case it has no value. Anybody can do that. But something out of something means it was really there the whole time, inside you, and you discover it as part of something new, that’s never happened before.
I mean you're given all these lessons for the unimportant things--piano-playing, typing. You're given years and years of lessons in how to balance equations, which Lord knows you will never have to do in normal life. But how about parenthood? Or marriage, either, come to think of it. Before you can drive a car you need a state-approved course of instruction, but driving a car is nothing, nothing, compared to living day in and day out with a husband and raising up a new human being.
We are chained hand and foot by protocol, enslaved to a static, empty world where men and women can’t read, where the scientific advances of the ages are the preserve of the rich, where artists and poets are doomed to endless repetitions and sterile reworking of past masterpieces. Nothing is new. New does not exist. Nothing changes, nothing grows, evolves, develops. Time has stopped. Progress is forbidden
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