Tony Kushner Quotes and its meanings

Who knows better than artists how much ugliness there is on the way to beauty, how many ghastly, mortifying missteps, how many days of granitic blockheadedness and dismaying ineptitude there is on the way to accomplishment, how partial all accomplishment is, how incomplete?

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.

I find writing very difficult. It's hard and it hurts sometimes, and it's scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities.

I find writing very difficult. It's hard and it hurts sometimes, and it's scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities.

I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels,' and it still generates income for me, but it's not enough for me to live on and have health insurance.

Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history if the answer is no, not precisely this way, then it's historical drama.

The general consensus among historians, among the ones who can handle the fact that 'Lincoln' is, in fact, historical fiction, is that we demonstrate enormous fidelity to history and that, beyond that, we've actually contributed a line of thinking about Lincoln's presidency that's somewhat original.

A handful of works in history have had a direct impact on social policy: one or two works of Dickens, some of Zola, 'Uncle Tom's Cabin' and, in modern drama, Larry Kramer's 'The Normal Heart.'

You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.

If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.

The way that same-sex marriage should reach the federal level is that it absolutely should be decided by the Supreme Court as quickly as possible. It's a 14th Amendment issue. There's no argument about it.

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.

You don't go to the movies to do historical research, unless it's historical research about the movies.

As much as I hate his movies, Oliver Stone has an aspiration I admire, and that is that he wants his art to be part of what makes and changes public policy and cultural practice.

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

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

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

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.

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.

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

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.

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.

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.