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Tony Kushner trust

Tony Kushner | trust

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.

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technology Tony Kushner

Tony Kushner | technology

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.

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success Tony Kushner

Tony Kushner | success

The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori’s plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

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strength Tony Kushner

Tony Kushner | strength

There’s a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

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relationship Tony Kushner

Tony Kushner | relationship

I feel there’s a power in theatre, but it’s an indirect power. It’s like the relationship of the sleeper to the unconscious. You discover things you can’t afford to countenance in waking life. You can forget them, remember them a day later or not have any idea what they are about.

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relationship Tony Kushner

Tony Kushner | relationship

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.

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politics Tony Kushner

Tony Kushner | politics

Artists know that diligence counts as much, if not more, as inspiration in art, as in politics, patience counts as much as revolution.

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politics Tony Kushner

Tony Kushner | politics

I don’t feel, finally, that my politics are entirely determined by the fact that I’m a gay man.

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patience Tony Kushner

Tony Kushner | patience

Artists know that diligence counts as much, if not more, as inspiration in art, as in politics, patience counts as much as revolution.

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movies Tony Kushner

Tony Kushner | movies

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.

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