Zitat des Tages von Tony Kushner:
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.'
If you have value as an artist it's probably going to be in your capacity to let things inside you get past things that are placed there to keep you from telling the truth. The more you see things as clearly and coldly as you can, the more value you're going to have.
God knows I've had productions where there were actors in my plays who were making more money per week than I was.
You don't go to the movies to do historical research, unless it's historical research about the movies.
I feel there's a power in theatre, but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them, remember them a day later or not have any idea what they are about.
The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
When I'm writing a new play, there's a period where I know I shouldn't be out in public much. I imagine most people who create go through something like this. You willfully loosen some of the inner straps that hold your core together.
If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.
Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history; if the answer is no, not precisely this way, then it's historical drama.
My back went out and I gained 40 pounds while sweating over 'Perestroika.' It was incredibly hard, the hardest thing I had to do before the screenplay to 'Lincoln.'
I'm going to start work on developing a series for HBO, because I'm naturally given to episodic stories of considerable length. And I won't have to listen to complaints about how wordy and long my work is if you can watch it on your telephone on the subway: You can make it conform to your day as if it were a book.
I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.
A handful of works in history have had a direct impact on social policy: one or two works of Dickens, some of Zola, 'Uncle Tom's Cabin' and, in modern drama, Larry Kramer's 'The Normal Heart.'
I think I have a great deal of self-hatred, a profound feeling of fraudulence, of being detestable and evil. It's only a part of me, but it's there, and it's active.
And 'Queer Eye' is fascinating. It has a pinch-me-I'm-dreaming quality. It's very bourgeois, of course, and much more about the liberation of the consumer than the liberation of the democratic citizen.
The way you give love is the most profoundly human part of you. When people say it's ugly or a perversion or an abomination, they're attacking the center of your being.
Who knows better than artists how much ugliness there is on the way to beauty, how many ghastly, mortifying missteps, how many days of granitic blockheadedness and dismaying ineptitude there is on the way to accomplishment, how partial all accomplishment is, how incomplete?
Unions are susceptible to the same ills that befall all human societies.
There's a way in which 'The Illusion' is a play about the theater.
I tend to be sort of quiet and shy and awkward in social situations.
But I still read Shaw on a regular basis. What I love is the nakedness of the polemic and the irresistible good humour. For me, 'Major Barbara' is the greatest of all the plays in that it starts from the rational and proceeds to the ecstatic in a spectacular way, and leaves you very confused if you cling to Euclidean logic.
Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.
I think I'll always be a better playwright than a pundit, but I believe that writers should be public intellectuals and that theater, even more than film, is a place of public debate.
The streets of New York are entirely man-made and unmistakably that, so you feel as though you're on some sort of presentation platform whenever you're out on the streets.
It has always seemed to me that Barack Obama has studied intensely and learned a great deal from Lincoln.
But I think what made me go into theater was seeing my mother onstage. The first thing she did was Mrs. Frank in 'The Diary of Anne Frank.' The second thing she did was a play about Freud called 'The Far Country.' She played a paralyzed woman in Vienna who goes to see Freud.
Gay TV has been immensely important in transforming American culture in a more gay-positive direction.
When I teach writing, I always tell my students you should assume that the audience you're writing for is smarter than you. You can't write if you don't think they're on your side, because then you start to yell at them or preach down to them.
When really writing I'm not a good friend. Because writing disorganizes the social self, you become atomized. It scrambles you, sometimes to the point that I'm incapable of speech. I feel that if I start speaking, I'll lose the writing, like getting off the treadmill.
I don't feel, finally, that my politics are entirely determined by the fact that I'm a gay man.
You could argue that Barack Obama faced in '08 a situation as bad as any president since the Great Depression. What Obama inherited from the Bush administration, we all remember, was just an absolute global catastrophe.