Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.

I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.

Black Comedy is a farce that is played in the dark, as you know, with the lights full on. It's the Chinese convention of reversing light and dark, and exactly where anybody is at any given moment is the play.

It's an extraordinary thing about Mozart is that you never tire of him... he never bores me, and he doesn't... not only bore me, that's too strong a word.

I was born in Liverpool in England, and I lived there for the first nine years of my life.

Passion, you see, can be destroyed by a doctor. It cannot be created.

We... our war began September the 3rd 1939, with the invasion of Poland by Germany, and thereafter the great state of danger in England at that time, with the bombings, necessitated the evacuation of children.

Librarians as a race tend to be tedious.

I think people nowadays do tend to blame their parents for everything.

It is very, very difficult for a playwright to write a scene in which a young man has his first deep experience of sex with a girl whom he found immensely attractive, is fully satisfied by this event and gets up and blinds a lot of horses.

They look so expectant, and then they look so depressed... that was the other great lesson that The Royal Hunt of the Sun taught me, it was the profundity that masked drama can achieve, that of course, the audience were not seeing masks moving at all.

But the first published thing I did was a detective story, detective novel, and I did that on my own.

You can't always let people do their own thing.

Rehearsing a play is making the word flesh. Publishing a play is reversing the process.

I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.

If London is a watercolor, New York is an oil painting.

And in fact, I think one of the best guides to telling you who you are, and I think children use it all the time for this purpose, is fantasy.

I made, over the years in Cambridge, several very good American friends, and America appeared to me, a land of promise in every sense of that word, a land of freedom from the inhibitions and restrictions that I felt in England.

I think I did have fantasies about being an actor. In fact, I know I did.

You never quite know what's going to strike your imagination, or something that won't going to leave you alone, not going to leave alone, and this was one for me.

Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.

Everything we feel is made of Time. All the beauties of life are shaped by it.

I think possibly the first film that has music as its leading character.

My actual childhood, as opposed to my adolescence, was not spent in London.

Watching Italian opera, all those male sopranos screeching, stupid fat couples rolling their eyes about. That's not love, it's just rubbish.

I was an accomplice in my own frustration.

Art and literature are my surrogate religions.

I discover what I mean as I write. That can be both terrifically exciting and very dangerous, because when you look at your words later, you wonder, 'Did I really mean that, or am I just making verbal patterns?'

In London, 'Equus' caused a sensation because it displayed cruelty to horses; in New York, because it allegedly displayed cruelty to psychiatrists.

Our function as playwrights to some extent is to make audiences see with their ears, because films make us see with our eyes much better.

The conquistadors and their followers were very rough people, and they were fixated on gold and silver. They were oblivious to the astonishing achievements of the Inca civilisation.

The rhetoric is the key to the character. It's the verbal music of the piece.

Things rust, you know, like the heart. My cardiologist said, 'It's a pump; use it - that's the sole advice I've got to give you.' It's the same in playwriting. Don't theorise about it. Do it.

The trouble is if you don't spend your life yourself, other people spend it for you.

Once to every person and nation come the moment to decide. In the conflict of truth with falsehood, for the good or evil side.

There is a contest old as Eden, which still goes on - the conflict between right and wrong, between error and truth. In this conflict every human being has a part.

Many of the Europeans who want Israel to go away don't even know why they do. Nearly a third of those interviewed concede they have no idea what the Israeli-Palestinian conflict is all about. It's enough to know that Israelis are Jews.

What we've proven is that you can protect the environment, use it wisely and grow the economy and that there is no conflict between the two.

The United States cannot feed every person, lift every person out of poverty, cure every disease, or stop every conflict. But our power and status have conferred upon us a tremendous responsibility to humanity.

The due process of law as we use it, I believe, rests squarely on the liberal idea of conflict and resolution.

We have not sought this conflict; we have sought too long to avoid it; our forbearance has been construed into weakness, our magnanimity into fear, until the vindication of our manhood, as well as the defence of our rights, is required at our hands.

The Arab-Israeli conflict is also in many ways a conflict about status: it's a war between two peoples who feel deeply humiliated by the other, who want the other to respect them. Battles over status can be even more intractable than those over land or water or oil.

I am in politics because of the conflict between good and evil, and I believe that in the end good will triumph.

We are not at war with Egypt. We are in an armed conflict.

When the problems in Northern Ireland started, it was not a question of Protestantism or Catholicism, because the Catholic church was the only church at that time-it was a nationalist conflict.

Vetting and verifying information is one thing. Having our government sending out conflicting messages to the American people when conflict can be avoided is another.

Washing one's hands of the conflict between the powerful and the powerless means to side with the powerful, not to be neutral.

The reality is, it will be a significant conflict going for many, many months, if not longer. Saddam Hussein is not a fool. He hasn't been sitting there waiting to get shot for 13 years.

It creates a conflict of interest - what songs would I use for me, and what would I use for the band.