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I'll get up there and I'll do my guitar solos in one of those space outfits.
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One of the most basic human instincts is the need to decorate. Nothing is exempt - the body, the objects one uses, from intimate to monumental, and all personal and ceremonial space. It is an instinct that responds ... to some deep inner urge that has been variously described as the horror of a vacuum and the need to put one's imprint on at least one small segment of the world.
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I always think back to the original movies and to those quieter moments where Luke is out in A New Hope, and there are the two suns setting. It is the equivalent, basically, of a farm boy dying to get out of his small town and do something bigger. It's those kinds of universal themes that ground this whole thing in space.
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In the New Yorker library, I have long been shelved between Nadine Gordimer and Brendan Gill; an eerie little space nestled between high seriousness of purpose and legendary lightness of touch.
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Some movies I see today have the most dramatic plot points but the actors are not playing them dramatically.
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I don't really write plots. I use history as the engine that drives everything.
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Grief doesn't have a plot. It isn't smooth. There is no beginning and middle and end.
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So somehow, things that seem extraneous to the play in reality are not. The scene lasts 37 minutes, and you only need 12 minutes of that for the plot. But if you pull the rest of it out, it's not my play.
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My success is not measured in money. I have no financial security, I have no savings account. I measure my success by asking myself if I’m telling a story that the world needs to hear, if I am educating people.
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You know, Democratic and Republican administrations alike have supported individuals and regimes that have slaughtered millions across the globe. And they need to be held accountable for that.
