Beau Willimon Quotes

People in D.C. are so psyched when anyone dramatizes them in an exciting way. They're a lot more open to looking at the nastier side of themselves than the media is.

The press don't wake up in the morning simply to be a mouthpiece for pols - they're out to uncover and expose news. That often is at odds with what politicians are setting out to do - it's both symbiotic and antagonistic. They need each other, they work in concert with one another, they work against one another.

In the best possible scenario, whenever you get notes from people, they're good notes, and they see things that you wouldn't have seen otherwise, and they make you a better writer.

Writing plays supplied for me everything that painting didn't, which is the ability to tell stories in real time, in a real space, in three dimensions, in flesh and blood. I realized I had been trying to cram all this narrative into my paintings, but ultimately painting was a static medium. So it just opened up this whole new door.

You just have to re-wire your brain when you're shifting from the stage to the screen or the silver screen or the HD flat screen.

I was always a writer - working on campaigns was never a profession for me. It was something I did on the side, really, so the trajectory hasn't been a political operative who likes to dabble in writing and finds himself into stumbling on film and TV - that was always my goal.

You always want to try, in everything you do, to attempt something you've never tried before, and the only way to succeed at that is through failure, and the only way to succeed through failure is just banging your head against the wall over and over until you get to that interesting thing on the other side.

If you really think that ambition, power, lust, desire are not as applicable in the media as in politics or on Wall Street or anywhere else, you're deluding yourself.

In politics, it's very theatrical. There's a lot of stage craft. The campaign is trying to tell a story that they want people to believe in, and candidates are playing the role, like actors, by a creative personae that people will be attracted to.

Tales of power and ambition and intrigue and betrayal and desire - when you're telling those in a big way, you automatically want to go to Shakespeare.

Like any young person who gets into a political campaign, I joined out of a highfalutin' desire to change the world. But you start to see the sort of tactics people use. You start to see politics not only in the macro but in the micro of the campaign itself. Some people get turned off by this side of it. Other people are drawn to it.

The reality is that politicians, in terms of the amount of power they wield and the amount that they work, don't actually make that much money.

This is the way I think about politics: We want two diametrically opposed things from a politician. On one hand we want them to be bastions of moral integrity, perfect people, saints. And on the other hand, we want them to be effective leaders.

Every director is different. One of the great things about getting to work with so many directors in one TV series is collaborating with different artistic visions and voices. And they all have something to offer and making the story better and bringing their vision to what you see in the frame.

The checks and balances is a way to prevent government from either devolving into an autocratic tyranny or an autocratic mob mentality.

My jobs on campaigns were pretty low on the totem pole - I was an advance man.

It's a rough and tumble game whenever power is involved - people's ambitions, their desires, their competitive spirit will often push them to play outside the rules. It's dramatic, it's interesting, and I think it's something we can all identify with to a degree.

We all experience power struggles in our lives - at the workplace, with our friends, in our love lives. In a way, we're all politicians.

I don't think that Washington is a fundamentally bad or corrupt place.

The economics of being a playwright are abysmal. I like to think of the work I do out in Hollywood as a way to actually make a life in the theater easier.

A lot of people have asked me whether I am a cynic or take a cynical view of politics and are often surprised when I say that I consider myself an optimist, but an optimist dressed in the robes of a realist.

Money is finite; it's limited by a number and what you can buy with it. Power has no limits if you're willing to go far enough in order to get as much of it as you can.

Real leaders have to live a paradoxical life, where they must break the rules in order to maintain them. If your expectations are high, you're setting yourself up for disillusionment. The land of governance is paved with gray streets, not black or white ones.

At home I mostly stick to online Scrabble, or chess or Risk - games I find far less addictive than the spectacular games created for consoles these days. But, whenever I get the chance, I head over to my friend Kyri's house to play his PS3.

There were many years when I was hand-to-mouth and didn't know how I was gonna make rent. I've done every job under the sun, from busing tables, temping, and working in factories to SAT prep and detailing cars. So to be able to make a living where all I do is write is absolutely liberating.

Richard III is not likeable. Macbeth is not likeable. Hamlet is not likeable. And yet you can't take your eyes off them. I'm far more interested in that than I am in any sort of likeability.

The political world is a dark place. If you want to portray it accurately, authentically, you've got to turn out the lights from time to time.

Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.