I never expected to have any kind of film career, to be honest. It was all a bit of a surprise. But I was in a big hit play on Broadway. America, as many people will say, says yes more often than we do. And so I was suddenly surrounded by people saying yes. But I was aware that was 'cause of what I was in. It had a big impact.
In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
The .350 hitter expects, and also deserves, a big payoff for his performance - even if he plays for a cellar-dwelling team. And a .150 hitter should get no reward - even if he plays for a pennant winner.
Everyone, in all walks of life, regardless of his professional occupation should feel concerned and play an active role to solve such problems which affect mankind.
Everyone judges plays as if they were very easy to write. They don't know that it is hard to write a good play, and twice as hardand tortuous to write a bad one.
Conventional words or other signs have to be sought for laboriously only in a second stage, where the associative play already referred to is sufficiently established and can be reproduced at will.
Despots play their part in the works of thinkers. Fettered words are terrible words. The writer doubles and trebles the power of his writing when a ruler imposes silence on the people. Something emerges from that enforced silence, a mysterious fullness which filters through and becomes steely in the thought.