A Quote by Terry Teachout

That's something you can't get off the wires in New York is people providing intelligent coverage of what your theater company in Podunk is up to. Many of the people who write what we call amateur criticism are professionals in anything other than name and receiving a paycheck. Very often, they know more than the professional critic who might be writing for their local newspaper. So, really, I'm all for it. It's changing the playing field, it's shaking things up, it's going to make the critical environment a healthier environment.
But I think it’s important to discuss just how easy it is for any of us to get caught up in things that might seem unthinkable—to get sucked into the wrong environment and make moral compromises that can tarnish us terribly. We like to think that we change our environment, but the truth is that it changes us. So we have to be extraordinarily careful to choose the right environment—to work with, and even socialize with, the right people. Ideally, we should stick close to people who are better than us so that we can become more like them.
There is something I call social intelligence. You can do a lot in life on your own and you can do all kinds of stuff, but if you're really bad with people, if you're really naive or aggressive and push people away, if you don't know the political environment you're in, it invalidates all the things you know. You're not going to get anywhere.
I think the office place is always seen as such a professional, sterile environment, so there's something unusually thrilling about taking that well-behaved, polished environment and turning it upside down and shaking it up.
Recently it's become much to my surprise, something that does happen. For example, I used to get almost all of my stories, and it's probably still true, from newspapers. Primarily from The New York Times. No one ever really thinks of The New York Times as a tabloid newspaper and it isn't a tabloid newspaper. But there is a tabloid newspaper within The New York Times very, very often.
If you're a playwright, unless you're really lacking in get-up-and-go, you can always get your play up somewhere. You can't necessarily make a living doing it, but theater is about meeting an audience. Plays are not easier to write necessarily, they take less time to write. If you get them up, it's a much more rough-and-tumble kind of existence. I think it's, from my perspective, easier than novel writing.
It's hard to explain to people how, if you're really capable of providing the right professional work environment, it allows you to get more personal.
When I was growing up, all I wanted to do was fit in, but if you're perpetually an outsider, it gives you a perspective that might have a little more objectivity than people who really feel connected to their social environment in which they grow up.
I just think some people don't like me. They don't like what I do or what I stand for or who I am. I catch criticism for doing things off the field and for getting the attention I get for playing in New York.
Many people don't know, but American Girl Scouts get to travel the world, and that's a very good thing, as the more we can expose our young people to other cultures, the better off we'll be in this increasingly globalized environment.
If you accept learning as a dominant determination of your behavior, then all of a sudden you're open to the idea that, for instance, there are other people who are more educated than you about the environment, who you will learn from. It's kind of like you don't even have to believe that you know anything about the environment, but you do have to understand that your behavior has been determined by learning in the past.
One of these days, someone smarter and younger and more articulate than I is going to get through to the American people just how really messed up the federal government has become. And when that happens, the American people are going to rise up like that football crowd in Cleveland and run both teams off the field.
I found L.A. much less responsive to the name Juilliard than New York was. In New York, that name actually means something. People will look up from their desks when you walk in. In L.A. it's, 'Oh yeah, that's a music school. What do you play?'
Something I've learned over time, and trying to remind myself this week as I am back in New York and feeling pretty anxious, is that things always seem less dire when you're in the country than when you're outside. I don't exactly know why it is, except that people just have to get on with their life, so they do. And you don't have time to do anything other than keep going.
I think, growing up in a small town - I grew up in a lot of different places. I grew up in a city environment, a more suburban environment, a more rural environment. That's the beauty of New Jersey is you get a lot of different types of living.
In cinema people are always walking into something and saying this is who I am, what I want, and how I'm going to get it and we don't in life - particularly not in public situations. People might know your first name, not your last name, they don't know what you do, and you're not going to offer it up. So if you start there and you realize this is a much more normal presentation in a film then you would ordinarily have; you know that there is a big life behind what everyone presents and that I think is super interesting.
I think in running, to be honest, that even though athletes are very dedicated and are willing to train and do whatever they need to do to prepare, more often than not they're not in a very professional environment where you've got a high performance director and a coach that are really monitoring your daily activities.
This site uses cookies to ensure you get the best experience. More info...
Got it!