A Quote by Tom Stoppard
I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.
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And this shows that people want to be stupid and they do not want to know the truth. And it shows that something called Occam's razor is true. And Occam's razor is not a razor that men shave with but a Law, and it says: Entia non sunt multiplicanda praeter necessitatem. Which is Latin and it means: No more things should be presumed to exist than are absolutely necessary. Which means that a murder victim is usually killed by someone known to them and fairies are made out of paper and you can't talk to someone who is dead.
So Occam's razor - Occam says you should choose the explanation that is most simple and straightforward - leads me more to believe in God than in the multiverse, which seems quite a stretch of the imagination.
Before the scene, before the paragraph, even before the sentence, comes the word. Individual words and phrases are the building blocks of fiction, the genes that generate everything else. Use the right words, and your fiction can blossom. The French have a phrase for it - le mot juste - the exact right word in the exact right position.
Nonbeing must in some sense be, otherwise what is it that there is not? This tangled doctrine might be nicknamed Plato's beard; historically it has proved tough, frequently dulling the edge of Occam's razor.
Scientists often talk of parsimony (as in "the simplest explanation is probably correct," also known as Occam's razor), but we should not get seduced by the apparent elegance of argument from parsimony; this line of reasoning has failed in the past at least as many times as it has succeeded.
The use of the right word, the exact word, is the difference between a pencil with a sharp point and a thick crayon.
Because your brain uses information from the areas around the blind spot to make a reasonable guess about what the blind spot would see if only it weren't blind, and then your brain fills in the scene with this information. That's right, it invents things, creates things, makes stuff up! It doesn't consult you about this, doesn't seek your approval. It just makes its best guess about the nature of the missing information and proceeds to fill in the scene.
There isn't much point arguing about the word "libertarian." It would make about as much sense to argue with an unreconstructed Stalinist about the word "democracy" - recall that they called what they'd constructed "peoples' democracies." The weird offshoot of ultra-right individualist anarchism that is called "libertarian" here happens to amount to advocacy of perhaps the worst kind of imaginable tyranny, namely unaccountable private tyranny. If they want to call that "libertarian," fine; after all, Stalin called his system "democratic." But why bother arguing about it?
I've got evil in me as much as anyone, some desires that scare me. Even if I don't give in to them, just having them scares the living bejesus out of me sometimes. I'm no saint, the way you kid about. But I've always walked the line, walked that goddamned line. It's a mean mother of a line, straight and narrow, sharp as a razor, cuts right into you when you walk it long enough. You're always bleeding on that line, and sometimes you wonder why you don't just step off and walk in the cool grass.
'West Wing' was huge. Like 'Hamilton,' it pulls back the curtain on how decision-making happens at the highest level, or at least how you hope it would be. The amount of information Aaron Sorkin packs into a scene gave me this courage to trust the audience to keep up.
The camera must point at the exact spot the audience wishes to look at any given moment. To find that spot is absurdly easy: you only have to remember where you were looking at the time the scene was made.
When I was in college at UCLA, I took a playwriting course. I was all set to be a writer. But I had to take this acting class as a theater arts major. I had to do this scene in a one-act comedy. I just said this line, and then... this laugh happened. I thought, 'Whoa. This is a really good feeling. What have I been missing?'
I write with a fountain pen. And then revise word by word and line by line so that the first draft of a scene is usually the tenth or so draft.
I suppose there is something appealing about a word that everyone uses with absolute confidence but on whose exact meaning no two people can agree. The word that I'm thinking of right now is genre, one of those French words, like crêpe, that no one can pronounce both correctly and without sounding pretentious.
I follow many tragedies around the world. At one point I [will] feel like I've accumulated an enormous amount of information, a critical mass amount of information, and I feel like acting - reacting. My manifesto has always been the same: I cannot act in the world before understanding the world. I will not move a finger. I will not come up with any ideas - nothing - until I actually understand what is happening.
I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
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