Tom Stoppard
Tom Stoppard
Sir Tom Stoppard OM CBE FRSLis a British playwright and screenwriter, knighted in 1997. He has written prolifically for TV, radio, film and stage, finding prominence with plays such as Arcadia, The Coast of Utopia, Every Good Boy Deserves Favour, Professional Foul, The Real Thing, and Rosencrantz and Guildenstern Are Dead. He co-wrote the screenplays for Brazil, The Russia House, and Shakespeare in Love, and has received one Academy Award and four Tony Awards. Themes of human rights, censorship and...
NationalityEnglish
ProfessionPlaywright
Date of Birth3 July 1937
CityZlin, Czech Republic
In the period before the arrival of Mrs. Thatcher, politics had been in such low esteem. Everything was so hedged, so mealy-mouthed. Then along came this woman who seemed to have no manners at all and said exactly what she thought. Everyone's eyes were popping and their jaws were dropping, and I really enjoyed that.
The way 'star' used to be reserved for a small number of people, and when the star category became so vast, they came up with 'superstar,' and then they came up with 'megastar.'
Like many people, I only knew of Ford Madox Ford through a book called 'The Good Soldier,' which is everybody's favorite Ford Madox Ford if they have one, but I came to read 'Parade's End' when it was suggested via Damien Timmer of Mammoth Screen.
The sense of suppression, ... or self-suppression, and pressure generally which came off even this photograph of the page of this diary was so strong and so moving. There was a love story here.
Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.
A movie camera is like having someone you have a crush on watching you from afar - you pretend it's not there.
To be 64 is appalling, so what does it matter being 65?
When Auden said his poetry didn't save one Jew from the gas chamber, he'd said it all.
Why should I write a play? I don't have to write a play, do I? But somehow, I think that's what I'm here for, so I'd better do it.
To be in love with Debo Devonshire is hardly a distinction.
With plays that require any kind of reading program, I'm reading for a couple of years before using the material.
I don't respond well to the Olympic noise, which is the noise of nationalistic triumphalism.
With his earliest work he stood alone in British theatre up against the bewilderment and incomprehension of critics, the audience and writers too.
Very often in Chekhov, where he exhibits a little bit of human behavior that you recognize as true, you give a little laugh. It's like a reflex.