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"When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War."
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"If you can't fully believe in your ideas, it very quickly communicates to a group of actors who need something to hold onto. They need to believe that whatever criticism, whatever comment is received, is meant."
Creativity
"I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed."
Being
"So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before."
Career
"I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do."
Imagination
"What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself."
People
"In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work."
Work
"I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge."
Change
"Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time."
Home
"I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera."
Emotional
"In my early years, my father was away as a soldier in the war. When he came back, work was very difficult to come by. Even though he was a highly skilled man, a maker of furniture, the payment for that work was very poor."
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"War sells!"
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Personal Development
"What branch do you want to go in? "I don' give a god-damn, said Pilon jauntily. "I guess we need men like you in the infantry. And Pilon was written so. He turned then to Big Joe, and the Portagee was getting sober. "Where do you want to go? "I want to go home, Big Joe said miserably. The sergeant put him in the infantry too."
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"People are so different in wartime. No one gets to be ordinary. Not really."
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Personal Development
"They wrote in the old days that it is sweet and fitting to die for one's country. But in modern war, there is nothing sweet nor fitting in your dying. You will die like a dog for no good reason."
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Personal Development
"They meet, as we shall meet tomorrow, to murder one another; they kill and maim tens of thousands, and then have thanksgiving services for having killed so many people (they even exaggerate the number), and they announce a victory, supposing that the more people they have killed the greater their achievement. How does God above look at them and hear them?" exclaimed Prince Andrew in a shrill, piercing voice. "Ah, my friend, it has of late become hard for me to live. I see that I have begun to understand too much. And it doesn't do for man to taste of the tree of knowledge of good and evil.... Ah, well, it's not for long!" he added."
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"How very like humans to pervert a message of love and peace to make it into an ideology of war and oppression to serve their own ends."
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"That's my town,' Joaquin said. 'What a fine town, but how the buena gente, the good people of that town, have suffered in this war.' Then, his face grave, 'There they shot my father. My mother. My brother-in-law and now my sister.' 'What barbarians,' Robert Jordan said. How many times had he heard this? How many times had he watched people say it with difficulty? How many times had he seen their eyes fill and their throats harden with the difficulty of saying my father, or my brother, or my mother, or my sister? He could not remember how many times he heard them mention their dead in this way. Nearly always they spoke as this boy did now; suddenly and apropos of the mention of the town and always you said, 'What barbarians."
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"You want war??...Out there you can find books, films about the war how brutal is it. If you disire for more... it sounds like you are cruel, so far I can understand it you are the bad guy, aren't you?"
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"In the Second World War he took no public part, having escaped to a neutral country just before its outbreak. In private conversation he was wont to say that homicidal lunatics were well employed in killing each other, but that sensible men would keep out of their way while they were doing it. Fortunately this outlook, which is reminiscent of Bentham, has become rare in this age, which recognizes that heroism has a value independent of its utility. The Last Survivor of a Dead Epoch."
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"Om rubed his head. This wasn't god-like thinking. It seemed simpler when you were up here. It was all a game. You forgot that it wasn't a game down there. People died. Bits got chopped off. We're like eagles up here, he thought. Sometimes we show tortoise how to fly. Then we let go."
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