When you get older, then you feel death not at the end of the road, but death all around you, in everything. Life is saturated with death. I feel death everywhere.
I don't see the theater as an establishment. The National Theatre has always seemed to me a people's theater. It was never meant to reinforce the values of the government of the day, nor does it, nor should it.
It's inevitable that you will die, so the only question is when. The great thrillers are the moments that play and tease with the question, "When will it be?"
I think the novel is the American form because people read it in private, and the only valuable things that happen in America happen in private life, because public life is a dead loss.
One of the things I find about getting older is that I seem to get louder, more voluble; that I constantly have to walk around repressing my vitality.
I believe love opens people up.
I'm trying to write something in which you know that it's all about sex but you never see any.
I actually think love changes everything. I think it's the only thing worth having.
If you kill a character people feel sad. That's too easy.
I never used to kill characters, because I thought killing characters was cheating.
The majority don't like me before the curtain goes up, and I always have to win them.
I have a very, very good relationship with 10 percent of the audience. The only purpose of art is intimacy. That's the only point.
[David] Mamet's the writer I admire most but he's way off from when he tries to talk about what the moral appeal of liberal thought is. His heart is not in it.
The orthodoxy of America is as rigid as that of Soviet Russia. There is one point of view allowed. If you start a conversation from another point of view, the words dry in your mouth.
If you do the things that Britain needs to do - namely, withdraw from NATO, get rid of the bomb, and stop being aligned with one side of the Cold War - then presumably the run on the pound, the result in the stock exchanges of the world, will be fairly catastrophic for the economy. But some sort of political realignment is plainly what this country needs.
I'm not good at standing on platforms and persuading people to my political point of view. Nor would I seek to. My gift is completely different. It's for presenting an imaginative version of the world which I hope people would recognize and be affected by.
I'm vey bad at marshaling arguments. I can't, at a dinner party, explain why I'm a socialist and why others should be socialists as well.
For a politician, the mans to power is paramount, and the ideology, in a way, can look after itself; I'm afraid a writer can't think like that. A writer has to think that it's more important to be right than to be popular.
What politicians want and what creative writers want will always be profoundly different, because I'm afraid all politicians, of whatever hue, want propaganda, and writers want the truth, and they're not compatible.
One of the depressing things in England is the total orthodoxy: the law is handed down from Downing Street.
Trying to be a socialist and a libertarian is obviously a very difficult balancing act, which nobody has pulled off too successfully in this century.
I don't think of my plays as steamy places where people display huge amounts of emotions. The feeling is underneath, which in my experience is where most feeling is. I don't myself spend my life shouting in rooms, and I don't really believe things in which people do spend their time in total hysteria.
Insofar as I'm good at directing, it's because I've become a writer.
I fell into writing plays by accident. But the reason I write plays is that it's the only thing I'm any good at.
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