A Quote by Tom Stoppard

In January 1962, when I was the author of one and a half unperformed plays, I attended a student production of 'The Birthday Party' at the Victoria Rooms in Bristol. Just before it began, I realised that Harold Pinter was sitting in front of me.
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.
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.
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.
[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'd say our ability to supersize emotions are American-made special effects. In European countries, people mostly stay close to home and whatever rage there is simmers under the surface - it's what made the plays of Shakespeare and Harold Pinter so good.
I worked with Harold Pinter once as my first Broadway show. It was one of the most exciting things that ever happened to me.
At the MTV Movie Awards, I was wearing a dress, and that red carpet is outside, and Victoria Justice was going before me on the red carpet. Apparently she's like the biggest star in the world, so everybody was just like 'Victoria! Victoria!' so I am just standing there, and a couple of reporters were just like 'Hello.' And then my skirt just flies up, and I was like 'Take that, Victoria Justice!'
I once attended a birthday party where Danny Kaye dropped in to entertain the birthday boy and his guests; I was sometimes taken for lunch on Saturdays by my father to The Brown Derby; and my favorite meal is still the Cobb salad in the Polo Lounge of the Beverly Hills Hotel.
I got stopped in front of the bras in Victoria's Secret; I get interrogated in airport bathrooms. I went to South Africa in January to see my family, and even there people would stop me and ask, "Sasha, who's A?" Even my grandma.
Today, I attended a friend's birthday party dressed as a ninja. I soon discovered that ninjas are very misunderstood.
I suddenly realized how much I loved her when we attended Alfred Hitchcock's 75th birthday party last August. There was something magical about that night, and it made me see how much she really meant to me.
Had I not done Shakespeare, Pinter, Moliere and things such as 'Godspell' - I played Judas in a hugely successful production before I did 'Elm Street' - I'd probably be on a psychiatrist's couch saying: 'Freddy ruined me.' But I'd already done 13 movies and years of non-stop theatre.
Well, I tried being in front of the camera as a student and that was terrifying. But the press stuff about me growing up on his [film] sets has been exaggerated. I was an extra as a kid and I was also a PA [production assistant] on one of his movies, so I was lucky to get production experience. But I was nowhere near him.
George W. Bush attended the intelligence briefing every day. Obama has not even attended half of them. He sends surrogates. That to me is significant.
All the London critics, including Kenneth Tynan and Harold Hobson, came down to Bristol to see 'The Crucible'.
I saw a man killed in front of my eyes just before my eighth birthday.
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