Crafts Quotes - Page 33

• Obviously VIA DOLOROSA is completely artificial. It is as highly wrought as any of my plays. But basically all the artifice is to disguise itself so you don't feel it's there. You're attempting to make the artifice like a pane of glass that simply leads you through to the subject - not to decorate the bloody glass.

  David Hare

  Glasses, Play, Attempting

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• There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.

  Anthony Minghella

  Character, Heart, Careers

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• Real life has always let me down. That's why I do the monologues. I have always said I would rather tell a life than live a life. But I have to live a life in order to tell one.

  Spalding Gray

  Real, Order, Said

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• What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.

  Alan Ayckbourn

  Running, Laughter, Pie

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• Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.

  Caridad Svich

  Mean, Writing, Thinking

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• There are parts of a ship which taken by themselves would sink. The engine would sink. The propeller would sink. But when the parts of a ship are built together, they float. So with the events of my life. Some have been tragic. Some have been happy. But when they are built together, they form a craft that floats and is going places. And I am comforted.

  Ralph Washington Sockman

  Taken, Together, Events

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• I learned a lot about what I do with my craft, how I present my music. A lot of things about him were very much an influence on me and everybody else. Once you get in that fold and you're around it, you get to experience something that I don't think we'll ever see again. There will never be anybody like Frank Sinatra. Ever.

  Paul Anka

  Thinking, Influence, Frank

  "Singer-songwriter Paul Anka". "Tavis Smiley Show" with Tavis Smiley, www.pbs.org. April 16, 2013.

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• That's a very good way to learn the craft of writing - from reading.

  William Faulkner

  Reading, Writing, Way

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• Writing is not a mystery. It is a craft like any other, and it can be learned.

  Robert Scholes

  Writing, Mystery

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• In the old days, you could segment happily. You could put out one message to one segment of the audience, and one to another. That has now gone. You say something to one community and instantly, literally at a click, it's available to everybody. What it means is that if you're trying to craft a message, it's very difficult.

  Martin Sorrell

  Mean, Community, Trying

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• To me it's no accident that all the symphony orchestras around the world tune up to the note A. And A is 440 cycles, except in Germany where it's 444. But the universe is 450 cycles. So what I'm trying to say is, I think it's God's voice, melody especially. Counterpoint, retrograde inversion, harmony... that's the science and the craft.

  Quincy Jones

  Thinking, Voice, Symphony

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• So somehow, things that seem extraneous to the play in reality are not. The scene lasts 37 minutes, and you only need 12 minutes of that for the plot. But if you pull the rest of it out, it's not my play.

  August Wilson

  Reality, Play, Plot

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• The more wisdom we know the more we may earn. Those who seek to learn more of their craft shall be richly rewarded.

  George S. Clason

  May, Knows

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• To arrive at a place called Mastery, you must commit to daily and rigorous practice. Enjoy practising your craft for its own sake without turning your attention to your ultimate destination. Understand, once and for all, that the journey is as important as the destination.

  Robin Sharma

  Journey, Practice, Important

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• There is no single approach that actors take to their craft. And the best thing you learn is that you have to really listen and respect each actor's own process and own method, and that takes a kind of delicate, non-imposing patience and openness, I think, to get the very best out of the people you work with.

  Todd Haynes

  Thinking, People, Actors

  Source: www.interviewmagazine.com

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• I started in the P.A. world and craft service and storyboard artist, with the eye on the prize of directing. When I was directing second unit on Babel, I ended up casting most of the unknown parts. In these weird circles, I was this guy who found these kids on the streets.

  Alfonso Gomez-Rejon

  Kids, Eye, Artist

  Source: collider.com

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• I realized that was what was happening in my work already. I think that's where, as artists, we begin to master our craft: when we're able to step back and understand things.

  Kalup Linzy

  Artist, Thinking, Able

  Source: www.interviewmagazine.com

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• It takes about ten years to make a mature dancer. The training is twofold. There is the study and practice of the craft in order to strengthen the muscular structure of the body. The body is shaped, disciplined, honored, and in time, trusted. The movement become clean, precise, eloquent, truthful. Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it. This might be called the law of the dancer's life, the law which governs its outer aspects

  Martha Graham

  Lying, Order, Years

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• I remember growing up, getting the Colorado Springs Sun in the morning and the Denver Post in the afternoon, and my dad just inhaling both of them, and me waiting to get the sports page from him. I fell in love with the craft. I remember being 9 years old and playing baseball in the backyard and coming in and writing little newspaper articles for my dad.

  Pat Forde

  Sports, Baseball, Morning

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• I have definitely noticed that I care less about certain things. Other actors are like: "You can't do that", or "You can't do this. This will position you in the wrong way." That's not my thing. And obviously so, because you can see I don't craft or cultivate my career.

  Ben Affleck

  Careers, Actors, Way

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• The dismal half-baked images of the average "reportage" and "documentary" photography are self dammning... the slick manner, the slightly obscure significance, the esoteric fear of simple beauty for its own sake - I am deeply concerned with these manifestations of decay. Gene Smith's work validates my most vigorous convictions that if the documentary photographs is to be truly effective it must contain elements of art, intensity, fine craft and spirituality. All these his work contains and we may turn to his work with gratitude, appreciation and great respect.

  Ansel Adams

  Photography, Appreciation, Gratitude

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• . . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.

  David Henry Hwang

  Rights, Issues, Goal

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• We live in an age where quantity is seen as preferable to quality, and many people tend to work in a horizontal line: next, next, next. But if you do that, you never investigate the vertical line - the depth of the piece.

  Simon McBurney

  Inspirational, Work, People

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• I see something, find it marvelous, want to try and do it. Whether it fails or whether it comes off in the end becomes secondary. . . . So long as I've learned something about why.

  Alberto Giacometti

  Long, Trying, Want

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• I think in this country we're committed to developing plays, and many plays I've seen have been rewritten too much. The scenes are tight, the play ends at the right time, you know exactly what the scene is about, but it seems flat; you can almost see that too many hands have been on the play. The individual voice is gone.

  A. R. Gurney

  Country, Thinking, Hands

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