The problem was to sustain at any cost the feeling you had in the theater that you were watching a real person, yes, but an intense condensation of his experience, not simply a realistic series of episodes.
A suicide kills two people, Maggie, that's what it's for!
You specialize in something until one day you find it is specializing in you.
If I have any justification for having lived it's simply, I'm nothing but faults, failures and so on, but I have tried to make a good pair of shoes. There's some value in that.
I have made more friends for American culture than the State Department. Certainly I have made fewer enemies, but that isn't very difficult.
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
It is my art. I am better at it than I ever was. And I will do it as long as I can. When you reach a certain age you can slough off what is unnecessary and concentrate on what is. And why not?
I think now that the great thing is not so much the formulation of an answer for myself, for the theater, or the play-but rather the most accurate possible statement of the problem.
The closer a man approaches tragedy the more intense is his concentration of emotion upon the fixed point of his commitment, which is to say the closer he approaches what in life we call fanaticism.