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Rosencrantz: Shouldn't we be doing something--constructive? Guildenstern: What did you have in mind? ... A short, blunt human pyramid...?

Tom Stoppard

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Tom Stoppard
Age: 87
Born: 1937
Born: July 3
Dramaturge
Film Director
Journalist
Playwright
Screenwriter
Translator
Writer
Zlin
Sir Tom Stoppard
Human
Humans
Rosencrantz
Mind
Pyramid
Something
Pyramids
Blunt
Constructive
Shouldn
Short

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Save the gerund and screw the whale.
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I've seldom minded other people's opinions, but the other side of that coin is that I've seldom been interested by them, um their opinions about me I mean.
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Actors! The mechanics of cheap melodrama! That isn't death! You scream and choke and sink to your knees but it doesn't bring death home to anyone- it doesn't catch them unawares and start the whisper in their skulls that says- 'One day you are going to die.
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I shall have poetry in my life. And adventure. And love, love, love, above all. Love as there has never been in a play. Unbiddable, ungovernable, like a riot in the heart and nothing to be done, come ruin or rapture.
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The media. It sounds like a convention of spiritualists.
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Chater: You dare to call me that. I demand satisfaction! Septimus: Mrs Chater demanded satisfaction and now you are demanding satisfaction. I cannot spend my time day and night satisfying the demands of the Chater family.
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Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, I'm the writer.
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It makes me so happy. To be at the beginning again, knowing almost nothing.... A door like this has cracked open five or six times since we got up on our hind legs. It's the best possible time of being alive, when almost everything you thought you knew is wrong.
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I write for film or, in this case, television when I haven't got a play cooking.
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You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.
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In England the rich own the poor and the men own the women.
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I've got no interest in educating or instructing people.
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To be frank: the translations that often sound bad in the mouths of the actors, these have often been done by linguists.
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The tragedy of journalism is that these are people doing their best work.
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I was interested by the idea that artists working in a totalitarian dictatorship or tsarist autocracy are secretly and slightly shamefully envied by artists who work in freedom. They have the gratification of intense interest: the authorities want to put them in jail, while there are younger readers for whom what they write is pure oxygen.
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It would have been nice to have had unicorns.
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Theater is a recreation. It can be much more, but unless it's recreation, I don't see the point of it.
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The causes we know everything about depend on causes we know very little about, which depend on causes we know absolutely nothing about.
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From principles is derived probability, but truth or certainty is obtained only from facts.
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Writing a play is like smashing that [glass] ashtray, filming it in slow motion, and then running the film in reverse, so that the fragments of rubble appear to fly together. You start - or at least I start - with the rubble.
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