Tony Kushner Quotes

HANNAH: It can be very hard to accept how disappointing life is, Harper, because that's what it is, and you have to accept it. With faith and time and hard work you reach a point where ... where the disappointment doesn't hurt as much, and then it gets easy to live with. Quite easy. Which ... is in its own way a disappointment. But. There.

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.

Theater really gets damaged when there is a paucity of good criticism around.

I wish you would be more true to your demographic profile. Life is confusing enough.

Roy: The immutable heart of what we are that bleeds through whatever we might become. All else is vanity.

The general consensus among historians, among the ones who can handle the fact that 'Lincoln' is, in fact, historical fiction, is that we demonstrate enormous fidelity to history and that, beyond that, we've actually contributed a line of thinking about Lincoln's presidency that's somewhat original.

I work best after the deadline has passed, when I'm in a panic.

God knows I've had productions where there were actors in my plays who were making more money per week than I was.

I never really feel that I'm stuck. I actually think that people are never stuck, there's no such thing as writers block, I think that theres terror that can silence you. But if you can think of it as a dynamic thing I mean a writers block, it's a paralysis an immobility and the thing that has immobilized you is a very powerful force. Immobility is itself an act, it's a choice. It can sometimes take as much energy to remain immobile as it does to be mobile. And if you think of it in a dynamic way then it'd freeze you from the sense that at some point your talent will simply abandon you and you're just a vacant shell with nothing to say, I don't think that ever really happens. But I think that terror, bad experience, trauma and so on can absolutely silence you.

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.

Look, look at my country, look at my Kabul, my city, what is left of my city? The streets are as bare as mountains now, the buildings are as ragged as mountains and as bare and empty of life, there is no life here only fear, we do not live in the buildings now, we live in terror in the cellars in the caves in the mountains, only God can save us now, only order can save us now, only God's Law harsh and strictly administered can save us now, only The Department for the Promotion of Virtue and the Prevention of Vice can save us now, only terror can save us from ruin, only neverending war, save us from terror and neverending war, save my wife they are stoning my wife, they are chasing her with sticks, save my wife save my daughter from punishment by God, save us from God, from war, from exile, from oil exploration, from no oil exploration, from the West, from the children with rifles, carrying stones, only children with rifles, carrying stones, can save us now.

... if a thing can be said to be, to exist, then such is the nature of these expansive times that this thing which is must suffer to be touched. Ours is a time of connection; the private, and we must accept this, and it's a hard thing to accept, the private is gone. All must be touched. All touch corrupts. All must be corrupted. And if you're thinking how awful these sentiments are, you are perfectly correct, these are awful times, but you must remember as well that this has always been the chiefest characteristic of the Present, to everyone living through it; always, throughout history, and so far as I can see for all the days and years to come until the sun and the stars fall down and the clocks have all ground themselves to expiry and the future has long long shaded away into Time Immemorial: the Present is always an awful place to be.

I do not believe the wicked always win. I believe our despair is a lie we are telling ourselves. In many other periods of history, people, ordinary citizens, routinely set aside hours, days, time in their lives for doing the work of politics, some of which is glam and revolutionary and some of which is dull and electoral and tedious and not especially pure – and the world changed because of the work they did. That's what we're starting now. It requires setting aside the time to do it, and then doing it. Not any single one of us has to or possibly can save the world, but together in some sort of concert, in even not-especially-coordinated concert, with all of us working where we see work to be done, the world will change. And we have to do it by showing up places, our bodies in places, turn off the fucking computers, leave the Web and the Net – and show up, our bodies at meetings and demos and rallies and leafletting corners.

In some ways [the Internet]'s definitely an enemy.

I did my best Shirley Booth this morning, floppy slippers, housecoat, curlers, can of Little Friskies; "Come back, Little Sheba, come back ... " To no avail. Le chat, elle ne reviendra jamais, jamais ...

As a playwright, you are a torturer of actors and of the audience as well. You inflict things on people.

MATAMORE: I never fight with my love face on,
I worry that it might get scratched.

Here's another piece of advice, only date people who have read a different set of books than you have read, it will save you lots of time in the library.

Here's the thing about politics: It's not an expression of your moral purity and your ethics and your probity and your fond dreams of some utopian future. Progressive people constantly fail to get this.

Real love isn't ever ambivalent,

Nothing's lost forever.

People shouldn't trust artists and they shouldn't trust art. Part of the fun of art is that it invites you to interpret it.

A play is never finished. You'll find out how much I mean that when you read my Last Will and Testament.

I've always wondered ... what if it really was Him, and He decided I wasn't worth it?

I just wondered what a thing it would be ... if overnight everything you owe anything to, justice, or love, had really gone away. Free.
It would be ... heartless terror. Yes. Terrible, and ...
Very great. To shed your skin, every old skin, one by one and then walk away, unemcumbered, into the morning.

That it should be the questions and shape of a life, its total complexity gathered, arranged, and considered, which matters in the end, not some stamp of salvation or damnation that disperses all the complexity into some unsatisfying little decision - the balancing of scales ...

One of the things I learned in 'Slavs!' is that it's much easier to talk about being gay than it is to talk about being a socialist. People are afraid of socialism, and plays that deal with economics are scarier to them.

I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.

There's a way in which 'The Illusion' is a play about the theater.

You have a strange relationship with calamity when you're a writer: you write about it; as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.

We won't die secret deaths anymore. The world only spins forward. We will be citizens. The time has come. Bye now. You are fabulous creatures, each and every one. And I bless you: More Life. The Great Work Begins.

I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.

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.

Harper: In your experience of the world. How do people change?
Mormon Mother: Well it has something to do with God so it's not very nice.
God splits the skin with a jagged thumbnail from throat to belly and then plunges a huge filthy hand in, he grabs hold of your bloody tubes and they slip to evade his grasp but he squeezes hard, he insists, he pulls and pulls till all your innards are yanked out and the pain! We can't even talk about that. And then he stuffs them back, dirty, tangled and torn. It's up to you to do the stitching.
Harper: And then up you get. And walk around.
Mormon Mother: Just mangled guts pretending.
Harper: That's how people change.

The fear of a work becoming dated is one of the most effective tools for keeping people from writing political work.

I hate America. I hate this country. It's just big ideas, and stories, and people dying, and people like you. The white cracker who wrote the national anthem knew what he was doing. He set the word 'free' to a note so high nobody can reach it. That was deliberate. Nothing on earth sounds less like freedom to me. You come to room 1013 over at the hospital, I'll show you America. Terminal, crazy and mean. I live in America, that's hard enough, I don't have to love it. You do that. Everybody's got to love something.

A compass, I learnt when I was surveying, it'll ... it'll point you true north from where you're standing, but it's got no advice about the swamps, deserts and chasms that you'll encounter along the way. If in pursuit of your destination, you plunge ahead heedless of obstacles, and achieve nothing more than to sink in a swamp, what's the use of knowing true north?

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.'

You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.

PRIOR (An awestruck whisper): God almighty.
Very Steven Spielberg.

It has always seemed to me that Barack Obama has studied intensely and learned a great deal from Lincoln.

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.

People are more easily manipulated when they don't have information. If you ensure that kids grow up without basic reading skills, math skills, and so forth, then you ensure that they can't act effectively.

I never imagined losing my mind was going to be such hard work.

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.

I'm a sort of political person, and I feel that there's a kind of ineradicably political dimension to theater, to all theater, whether it's overtly political or not.

The work of artists is to find what's humanly possible - possibility's furthest reaches.

The act of thinking and interpreting is so central to Judaism that it makes more sense that we've become people like Woody Allen - thinkers and talkers and drafters of law.

Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.

I go into any movie that's historical fiction thinking, 'OK, I'm here to watch a work of art, something delivering a series of opinions, and if it's a good work of art, these opinions become so deeply embedded in complexity and richness that I won't even be bothered by the opinions. I'll make my own mind up.'

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.

A play should have barely been rescued from the mess it might just as easily have been.

You learn that existence is legible but that you have to have a critical mind if you're going to read it.

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.

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.

Before the boiling of blood and the searing of skin comes the secret catastrophe: Before Life on Earth becomes finally merely impossible, it will for a long time before have become completely unbearable.

I grew up in a small Southern town, and there were white people and black people. Coming to New York to go to Columbia, every time I went into the subway I was absolutely astounded because you see people from all over the world who actually live here - who aren't just here as tourists.

I tend to be sort of quiet and shy and awkward in social situations.

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.

Theatre for a New Audience is one of America's most admirable and exciting theatre companites ... some of the best acted and directed work to be found on American stages, engaging with the canon of world dramatic literature in a vigorous way.

HANNAH: You had a vision.
PRIOR: A vision. Thank you, Maria Ouspenskaya. I'm not so far gone I can be assuaged by pity and lies.
HANNAH: I don't have pity. It's just not something I have.
(Little pause)
One hundred and seventy years ago, which is recent, an angel of God appeared to Joseph Smith in upstate
New York, not far from here. People have visions.
PRIOR: But that's preposterous, that's ...
HANNAH: It's not polite to call other people's beliefs preposterous.
He had great need of understanding. Our Prophet. His desire made prayer. His prayer made an angel. The angel was real. I believe that.
PRIOR: I don't. And I'm sorry but it's repellent to me. So much of what you believe.
HANNAH: What do I believe?
PRIOR: I'm a homosexual. With AIDS. I can just imagine what you ...
HANNAH: No you can't. Imagine. The things in my head.
You don't make assumptions about me, mister; I won't make them about you.

It's the price of rootlessness. Motion sickness. The only cure: to keep moving.

As much as I hate his movies, Oliver Stone has an aspiration I admire, and that is that he wants his art to be part of what makes and changes public policy and cultural practice.

The way that same-sex marriage should reach the federal level is that it absolutely should be decided by the Supreme Court as quickly as possible. It's a 14th Amendment issue. There's no argument about it.

It can be very hard to accept how disappointing life is, Harper, because that's what it is, and you have to accept it. With faith and time and hard work you reach a point where ... where the disappointment doesn't hurt as much, and then it gets easy to live with. Quite easy. Which ... is in its own way a disappointment.

The white cracker who wrote the National Anthem knew what he was doing. He set the word "free" to a note so high nobody could reach it. That was deliberate.

Justice precedes beauty. Without justice, beauty is impossible, an obscenity. And when beauty has gone, what does a cameraman do with his eye?

I don't know what will happen to me without you. Only you. Only you love me. Out of everyone in the world.

Oh you only think you know all I know. I don't even know what all I know. Half the time I just make it up, and it still turns out to be true! We learned that trick in the fifties. Tomorrow,

YOU HAVE TO ASK HARD QUESTIONS.

Purple? Boy, what kind of a homosexual are you, anyway? That's not purple, Mary, that color up there is mauve.

I love reading; it's a great way to avoid writing.

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.

JOE: You said my wife. And I want to know, is she -
PRIOR: TALK TO HER YOURSELF, BULLWINKLE! WHAT DO I LOOK LIKE A MARRIAGE COUNSELOR?

You're a battered heart, bleeding life in the universe of wounds.

Imagination can't create anything new, can it? It only recycles bits and pieces from the world and reassembles them into visions ... So when we thing we've escaped the unbearable ordinariness and, well, untruthfulness of our lives, it's really only the same old ordinariness and falseness rearranged into the appearance of novelty and truth. Nothing unknown is knowable. Don't you think it's depressing?

Respect the delicate ecology of your delusions.

My whole life has conspired to bring me to this place, and I can't despise my whole life.

Love is the world's infinite mutability; lies, hatred, murder even, are all knit up in it; it is the inevitable blossoming of its opposites, a magnificent rose smelling faintly of blood.

In a way, film and television are in the same sort of traumatic trance that print journalism is. The technology has outpaced our comprehension of its implications.

Unions are susceptible to the same ills that befall all human societies.

I've always been drawn to writing historical characters. The best stories are the ones you find in history.

You have a good heart and you think the good thing is to be guilty and kind but it's not always kind to be gentle and soft, there's a genuine violence softness and kindness visit on people. Sometimes self-interested is the most generous thing you can be.

I could give you absolutely sterling advice on how to avoid writing, how when you run out of things to do other than going to your desk and writing, when every closet is reorganized and you've called your oldest living relative twice in one day to see what she's up to and there isn't an unanswered e-mail left on your computer or you simply can't bear to answer another one and there is no dignity, not a drop left, in any further evasion of the task at hand, namely writing, well, you can always ask your dentist for a root canal or have an accident in the bathtub instead.

Torture yourself about your failures. And then get back to work.

Descendants of this immigrant woman, you do not grow up in America, you and your children and their children with goyische names. You do not live in America. No such place exists. Your clay is the clay of some Litvak shtetl, your air the air of the steppes - because she carried the old world on her back across the ocean, in a boat, and she put it down on Grand Concourse Avenue, or in Flatbush, and she worked that earth into your bones, and you pass it to your children, this ancient culture and home.

If you meant to invite me, and let's proceed from that assumption, then you wanted a playwright, and I have to say what a strange choice, what with Gabriel blowing his trumpet and the Book of Revelation unfolding seal by seal and all; it's as if you'd been warned of years of calamity and famine ahead and in response you anxiously stuffed an after-dinner mint in your pocket.

The computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.

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.'

Constitutional democracy has created astonishing and apparently irreversible social progress. All we're interested in is talking about when government doesn't work.

Maybe Christ will come again. Maybe seeds will be planted, maybe there'll be harvests then, maybe early figs to eat, maybe new life, maybe fresh blood, maybe companionship and love and protection, safety from what's outside, maybe the door will hold, or maybe ... Maybe the troubles will come, and the end will come, and the sky will collapse and there will be terrible rains and showers of poison light, or maybe my life is really fine, maybe Joe loves me and I'm only crazy thinking otherwise, or maybe not, maybe it's even worse than I know, maybe ... I want to know, maybe I don't. The suspense, Mr. Lies, it's killing me.

The problem is we have a standard of what evil is, Hitler, the Holocaust - THE standard of absolute evil. . . . But then everyone gets frantic as soon as you try to use the standard, nothing compares, nothing resembles - and the standard becomes unusable and nothing qualifies as Evil with a capital E. . . . I mean like a certain ex-actor-turned-president who shall go nameless sat idly and I do mean idly by and watched tens of thousands die of a plague and he couldn't even bother to say he felt bad about it, much less try to help . . . I mean do you have to pile up some magic number of bodies before you hit the jackpot and rare a comparison with you-know-who?

So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.

The theater requires an essential gullibility that you can't get through life without having. If all you can feel is skepticism-well , you meet people like this. Run away from them. They're not good people.

We can't just stop. We're not rocks-progress, migration, motion is ... modernity. It's ANIMATE, it's what living things do. We desire. Even if all we desire is stillness, it's still desire for ...

They got back the Senate but we have the courts. By the nineties the Supreme Court will be block-solid Republican appointees, and the federal bench - Republican judges like land mines, everywhere, everywhere they turn. Affirmative action? Take it to court. Boom! Land mine. And

If the snake sheds his skin before a new skin is ready, naked he will be in the world, prey to the forces of chaos. Without his skin he will be dismantled, lose coherence and die. Have you, my little serpents, a new skin?

If you're gay and you can't hold hands, or you're black and you can't catch a taxi, or you're a woman and you can't go into the park, you are aware there's a menace. That's costly on a psychic level. The world should be striving to make all its members secure.

The dreams of the left are always beautiful - the imagining of a better world, the damnation of the present one. This faith, this luminescent anger - these are worthy of being called human. These are the Beautiful that an age produces.

I had a book of Bible stories when I was a kid. There was a picture I'd look at twenty times every day: Jacob wrestles with the angel. I don't really remember the story, or why the wrestling
just the picture. Jacob is young and very strong. The angel is ... a beautiful man, with golden hair and wings, of course. I still dream about it. Many nights. I'm ... It's me. In that struggle. Fierce, and unfair. The angel is not human, and it holds nothing back, so how could anyone human win, what kind of a fight is that? It's not just. Losing means your soul thrown down in the dust, your heart torn out from God's. But you can't not lose.