In oratory the will must predominate.— David Hare
The most professional David Hare quotes that are free to learn and impress others
Sudden resolutions, like the sudden rise of mercury in a barometer, indicate little else than the variability of the weather.
The art of writing is the art of discovering what you believe.
Smiles are the language of love.
Strength was the virtue of paganism; obedience is the virtue of Christianity.
Some people carry their heart in their head and some carry their head in their heart. The trick is to keep them apart yet working together.
The theatre is the best way of showing the gap between what is said and what is seen to be done, and that is why, ragged and gap-toothed as it is, it has still a far healthier potential than some poorer, abandoned arts.
No one but a fool is always right.
Weak minds sink under prosperity as well as adversity; but strong and deep ones have two high tides.
Children always turn to the light.
When you get older, then you feel death not at the end of the road, but death all around you, in everything. Life is saturated with death. I feel death everywhere.
The ultimate tendency of civilization is towards barbarism.
Thought is the wind and knowledge the sail.
You cant get a contemporary story about what is going on inside government, and how society sees itself, on American TV.
Poetry is the key to the hieroglyphics of nature.
The great mystery of adaptation is that true fidelity can only be achieved through lavish promiscuity.
An inability to handle language is not the same thing as stupidity.
Purity is the feminine, truth the masculine of honor.
What politicians want and what creative writers want will always be profoundly different, because I'm afraid all politicians, of whatever hue, want propaganda, and writers want the truth, and they're not compatible.
Nothing is further than earth from heaven, and nothing is nearer than heaven to earth.
The future of American film lies on television.
To those whose God is honor; only disgrace is a sin.
A weak mind sinks under prosperity, as well as under adversity.
A strong and deep mind has two highest tides - when the moon is at the full, and when there is no moon.
Trying to be a socialist and a libertarian is obviously a very difficult balancing act, which nobody has pulled off too successfully in this century.
I believe love opens people up.
I don't think of my plays as steamy places where people display huge amounts of emotions. The feeling is underneath, which in my experience is where most feeling is. I don't myself spend my life shouting in rooms, and I don't really believe things in which people do spend their time in total hysteria.
My father always said 'There's no free lunch.
' My father was right. There's no free lunch and there's no free market. The market is rigged, the market is always rigged, and the rigging is in favour of the people who run the market. That's what the market is. It's a bent casino. The house always wins.
Style is the art of getting yourself out of the way, not putting yourself in it.
Never take advice from anyone with no investment in the outcome.
The most important playwright's gift is to hit your time and speak to your time.
I have a very, very good relationship with 10 percent of the audience.
The only purpose of art is intimacy. That's the only point.
I fell into writing plays by accident.
But the reason I write plays is that it's the only thing I'm any good at.
I actually think love changes everything. I think it's the only thing worth having.
Obviously VIA DOLOROSA is completely artificial.
It is as highly wrought as any of my plays. But basically all the artifice is to disguise itself so you don't feel it's there. You're attempting to make the artifice like a pane of glass that simply leads you through to the subject - not to decorate the bloody glass.
As you write plays, you discover what you believe.
And until you know what you believe, you can't write a play.
When they speak, dead frogs fall out of their mouths.
One of the depressing things in England is the total orthodoxy: the law is handed down from Downing Street.
I'm trying to write something in which you know that it's all about sex but you never see any.
The majority don't like me before the curtain goes up, and I always have to win them.
If you do the things that Britain needs to do - namely, withdraw from NATO, get rid of the bomb, and stop being aligned with one side of the Cold War - then presumably the run on the pound, the result in the stock exchanges of the world, will be fairly catastrophic for the economy. But some sort of political realignment is plainly what this country needs.
[David] Mamet's the writer I admire most but he's way off from when he tries to talk about what the moral appeal of liberal thought is. His heart is not in it.
It's inevitable that you will die, so the only question is when.
The great thrillers are the moments that play and tease with the question, "When will it be?"
I never used to kill characters, because I thought killing characters was cheating.
I'm not good at standing on platforms and persuading people to my political point of view. Nor would I seek to. My gift is completely different. It's for presenting an imaginative version of the world which I hope people would recognize and be affected by.
Writers always sound insufferably smug when they sit back and assert that their job is only to ask questions and not to answer them. But, in good part, it is true. And once you become committed to one particular answer, your freedom to ask new questions is seriously impaired.
The one thing that Via Dolorosa has is no opinions.
To me, curiosity is 50 times as valuable as opinion.
I think the novel is the American form because people read it in private, and the only valuable things that happen in America happen in private life, because public life is a dead loss.
. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences . . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.
The orthodoxy of America is as rigid as that of Soviet Russia.
There is one point of view allowed. If you start a conversation from another point of view, the words dry in your mouth.
In those days, the early 1980s, TV and film were interchangeable.