Quotes from John Guare

I mean New York City is the financial capital of the world. It's where all the money passes through, the Dow Jones, whatever, that's where all the money goes.

We live in a world where amnesia is the most wished-for state. When did history become a bad word?

The rich live hand-to-mouth too-just on a higher level.

It's a lucky life to be a playwright.

The power of the past to still dominate our thinking today.

Oh, I never use a seat belt. I don't believe in gravity.

And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.

To stay around any place you love, you have to have a job. In college at Georgetown in the fifties, I got my first theater job checking coats at the National, which was Washington's main theater.

How much of your life can you account for? My life is a collage of unaccounted for brush strokes; I am all random".

The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.

There's no such thing as a perfect play. Sometimes you have to protect the life of the play.

Sometimes you have to protect the life of the play. It seems like spelling out mysterious, musical details can destroy a play by making the motivations too clear, too simplex.

Every play is so important. It's a record of what life was like at the time you wrote that play or that book.

Oh god, I'd just hate it if a certain dramaturg got a hold of a Pinter play, for example, which are all mystery and all music. That's how the life get's sucked out of plays.

I think that some of these plays are lost in this new horror called development, which is a place for dramaturgs to say "let me tell you what your play means," and the life gets sucked out of a play.

It's amazing how a little tomorrow can make up for a whole lot of yesterday.

We live in a world where amnesia is the most wished-for state. When did history become a bad word?

And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

Everybody on this planet is separated by only six other people. Six degrees of separation. Between us and everybody else on this planet.

It's amazing how a little tomorrow can make up for a whole lot of yesterday.

I believe that the imagination is the passport we create to take us into the real world. I believe the imagination is another phrase for what is most uniquely us.

The imagination says listen to me. I am your darkest voice. I am your 4 a.m. voice. I am the voice that wakes you up and says this is what I'm afraid of. Do not listen to me at your peril.... The imagination is not our escape. On the contrary, the imagination is the place we are all trying to get to.

Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.