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Sometimes you have to protect the life of the play. It seems like spelling out mysterious, musical details can destroy a play by making the motivations too clear, too simplex.

John Guare

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John Guare
Age: 86
Born: 1938
Born: February 5
Actor
Playwright
Screenwriter
Writer
New York City
New York
Making
Spelling
Seems
Mysterious
Play
Destroy
Sometimes
Details
Life
Musical
Like
Motivation
Protect
Clear
Motivations

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I mean New York City is the financial capital of the world. It's where all the money passes through, the Dow Jones, whatever, that's where all the money goes.
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All the New York City Ballet does is hit beautiful home runs.
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James Joyce wrote the definitive work about Dublin while he was living in Switzerland. We're all where we come from. We all have our roots.
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I'm sure there are some good dramaturgs but I've never worked with one.
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You can't kind of take away, you either do or you don't. If you kind of take away something you're a failure.
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Oh, I never use a seat belt. I don't believe in gravity.
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Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.
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And what would be great numbers in a Broadway show are now on stage of the New York City Ballet.
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You can read ten books and finally come across one detail, and it's like, now everything else makes sense. Now I know where I am.
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You can't be a sort of pioneer.
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However, the moral center of New York City, I believe, is the New York City Ballet.
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Show business offers more solid promises than Catholicism.
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Everyone talks about America, this great country. You hear, I'm more patriotic than you are. No, I'm more patriotic! But how few people know the history of this country and how we came into being. That's the part that just amazed me.
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The great risk is always saying, how will I communicate what I'm trying to get across to a room full of strangers sitting in the dark watching a stage?
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Like a dog, a playwright lives in an eternal present and a play is never closed.
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There's no such thing as a perfect play. Sometimes you have to protect the life of the play.
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Every play is so important. It's a record of what life was like at the time you wrote that play or that book.
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You cannot write to resonate twenty or thirty or forty years from now. You only can write for that very day, but whatever happens is all gravy.
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The power of the past to still dominate our thinking today.
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1975 is as much a historical document as 1803.
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