playwrights-from-canada

"As an artist, the thing that you want the most for your work is for it to be alive. Every new thing you do has to feel completely alive to you. And what works for me always is that there has to be some part of it that is brand new to me, more or less something that I haven’t done before ever. Something that scares me or something that makes me feel like it is going to teach me something. Something that I think is smarter than me. Those are the things that I really hope for in every single project that I do. So whatever it may be the projects that I want to do are always the things that are going to make me feel alive doing them, because I don’t want to beat a dead horse."

"Good storytelling stands for itself."

"When you are raised in a culture and have grown to accept that everybody else’s story is normal, you believe that your story isn’t important. I have never seen a representation of my story on television."

"I learned that intelligence is something that isn’t easy to measure and I’ve come to believe that heart matters. I don’t want to spoil things, but you can see during certain moments the heart of the competitors rise above."

"I fell in love with the craft of acting. Breaking down a scene, finding the beat, understanding character motivation – all of these things became real to me on a level that I had never before appreciated. It was more than just memorizing lines; it was excitement and never in a million years before this, did I think that this would be a job for me. And that was exciting as well!"

"You hone your craft so that you can be excellent in whatever it is that you do. I say that to my kids but it really is about the way you approach your work, your craft, whatever, that’s what makes you a success. You can be pissy about not getting the lead role or the attention you think you deserve, but when it comes down to it, it’s all about doing the best role you can. Our industry is based on hope – being discovered and all that, but that accounts for only 0.001% of success. I’m pragmatic, I just decided I was going to be excellent and realistic and be a grinder at my work. I was just going to keep going, be happy, work hard, and accept the roles that came to me."

"I would say follow your passion, follow what you love. You are going to be doing it for a long time, so at least you have to like it! I know a lot of people who have a good paying job and when I ask if they like it, they say “no.” Then why are you doing it then and what would you rather be doing? “Well, to make money.” You make these choices in life, you can choose to be comfortable or choose to be passionate and do both, few can do both at the same time. That’s life too. I had to work retail jobs just so I could stay acting. But there was never a question for me to quit acting. I was just too stupid and stubborn to quit! Things change, if you have a family too, I get it! You need more money for your kids to eat! If acting doesn’t pay for it, then you need to get that job and you find a way to make things work. Sometimes you have to wait, but at the end of the day, nobody owes you anything!"

"Script in television is easier: you can study it and do your homework. When doing “Kim’s,” I’m often three days ahead of schedule, learning my lines and making choices because I have the luxury of an almost complete script in front of me. It’s different from doing a television show that’s improvised and ad-libbed; basically what you are saying is predicated by what the competitors do. As a host, you have to think about so many different things because there are so many different moving parts—not only technically being aware of where the cameras are, but also reacting to what you are given by the competitors and making it seem effortless is probably one of the hardest things I’ve ever done in my life!"

"When you’re 18 and you’re starting to lose your hair – it sucks. So, my agent always got me roles that were older than my actual age. I’m Asian and an actor and I worried about my appearance. I played dads, grand-dads and that was my career. But that taught me something: I learned that I’m never going to have a leading role but that doesn’t matter; I’m going to be the best actor I can – bit roles, whatever and that attitude made me a better actor. I believed I could be a character actor and that’s a thing to aspire to."

"I’ve always found solace in being able to lose myself in a story. It fueled my imagination – my own desire to tell stories. I didn’t have brothers growing up… I didn’t have close friends, so I was left to my own devices. I took to writing, reading a lot and building Lego kits and creating my own worlds and stories."

"When you are improvising a show, it’s different as well, because people understand you are improvising, you’re allowed to make mistakes. When you watch game shows, the really good ones, [they] look like they don’t ever miss a beat. I’ve realized that it’s because they are all edited within an inch of their lives, there were probably tons of mistakes, but it looks like everything is going smooth, but it’s like getting into the deep end of the pool and being forced to sink or swim. I’m curious to see how I was in the first episode versus the finale, as almost two different hosts because at the end I found my comfort zone, and I was more familiar with the language, the technical aspects of what was going on and being more engaged, getting to know the kids a lot better and getting to know the format a lot better."

"Television is a gateway for other people too. It reaches such a mass audience and it only makes sense that this is the easiest way for newcomers to learn about Canadian society and a love of pop culture comes out of that. That’s why shows like Star Trek that have such a positive and hopeful view of society in the future are so important because they will reach that audience and give them hope. It’s a powerful medium that has so much influence, so much power to abuse the trust that audiences give to it."

"Show what you can do and be excellent at it, then you can’t be ignored anymore. It doesn’t have to be a culturally or ethnically specific role or project; you can just be a talented filmmaker, artist, actor, producer or whatever, you can turn that corner. If that’s what gets you in great, but that isn’t what we should always be limited to (culture/ethnicity)."

"For a large part of my youth, I was very angry and very pissed off. It’s one of those things where you’re allowed to feel that. However, if you spend all your time pissing and moaning about and just talking about it, instead of doing something about it, that’s the problem. When you are complaining about the status quo, it’s easy to rail against the man and it’s comfortable because usually when you are ranting about it, so many people agree with you. The hardest thing is doing something about it. It’s a painful lesson to learn, but I’m on the other side now and I understand completely, especially younger people, being super pissed and stuff. I needed to understand when I was young too, that no one is just going to hand it to you because of the color of your skin or because you think you deserve it. This is a difficult industry we are in. You have to focus on doing your job, doing your best, so next time they can’t ignore you."

"In most Asian-American families, if a son or daughter says they want to be in theater, nobody's embracing them for that. And that's a problem. Because when you're discouraging those people at that age, it reduces the number of participants in the cultural life of the community."

"I think some of the bigger issues in terms of diversity are specifically about Broadway and Hollywood, where it's more about money. There are major controversies going on at those levels…there is always controversy over how Hollywood is casting white actors in what might have been Asian roles, or Asian roles that have been transferred into white roles. So on that level, there are some real challenges."

"First there’s often protest by Asian American communities about what they believe are stereotyped depictions; by resetting the opera in Edwardian England, we don’t have to worry about that. Second, because the opera was originally set in Japan, you had all these white actors playing Japanese characters – yellowface actors – and by setting it in Edwardian England we now have white actors playing white characters. To me, that solves the two key concerns that might come up."

"My theater work came out of my community activism, and became an extension of that activism. Being Asian American, there are so many hurdles to get across in terms of creating awareness and recognition of Asian-American theater, wherever you go. Those two are, for me, wedded together completely…"

"If life is a test, where's your patience? How can you tell us that you were not blessed?"

"The history of Acadians has never been written down as see by its people. Its been written by historians from outside. These historians sometimes had reason not to write the truth or didn't know the truth or didn't know the small things which become the big things, the inside story, what we in France call la petit histoire. History is made by the kings and lords, But la petit histoire is made by the people."

"When I was a little kid I thought like a little kid, but now I'm five I know everything."

"Are stories true?" "Which ones?" "The mermaid mother and Hansel and Gretel and all them." "Well," says Ma, "not literally." "What's—" "They're magic, they're not about real people walking around today." "So they're fake?" "No, no. Stories are a different kind of true."

"Scared is what you're feeling," says Ma, "but brave is what you're doing."

"Ma: You're gonna love it. Jack: What? Ma: The world."

"Soon I must vote for Oscars and BAFTAs, so I've been having marathon screening sessions. Top of my list so far is ROOM, which is brilliant in every way. The boy actor, Jacob Tremblay, is astounding. But most of all, it's a film that never stoops to the rigged mini-plots so often used to generate viewer excitement: it goes its own way, always surprising, always utterly believable. The writer of both the novel and the screenplay, Emma Donoghue, has produced a perfect work. People seem surprised that a first-time screenwriter can be so good, but the truth is screenwriting's not hard, it's having something strong and real and true to write about that's hard. Emma Donoghue is original and wise: that's rare."

"Looking back, I can now see that Hood is part of a small but interesting body of lesbian novels of loss and bereavement (by people like Sarah Schulman, Marion Douglas, Sarah Von Arsdale, Carol Anshaw) written in the 1990s. We were catching up with the boys, perhaps; gay men really took the lead in writing honest and beautiful books about mourning."

"I think buddy is man talk for sweetie."

"It's called mind over matter. If we don't mind, it doesn't matter."

"Everyone has to do something for survival, but that something does not have to define the real character of a person. I am what my head tells me I am. I am what my feelings say I am. I do not depend on anyone’s approval."

"No man is more of a stranger to you than you are to him. Receive him with trust."

"Becoming a nationalist is not a matter of decision; it means one has locked one’s mind forever. No reason or practical advice or evidence is strong enough to unlock it."

"‘Tell me something about your life, ‘he said. ‘My life?’ the rickshaw-wallah asked. ‘I do not have one.’"

"The taller the building, the better the view."

"People want to see you own something as precious so that they are assured that you are not going to steal from them. The richer the leader, the more respected he is."

"‘Every man has a vision,’ Nur Hussain said. ‘Whether he understands it or not."

"Suffering is not an otherworldly affair; it will never be that a person won’t be able to unearth the mystery of his suffering in his lifetime."

"Shoes could be sold and resold, unlike a Constitution."

"It is not mandatory, I thought, that a society must have people who are vile and who rear filthiness instead of grit and ambition."

"Seventy million people will talk about seventy million solutions to the same problem."

"Imagine a day when this yard will be crowded with hundreds of leaders of the country. They will compete with each other, argue with each other, insult each other, throw shoes, leather bags, teacups, microphones and chairs at each other, break each other’s neck and determination, and then, at the end of the day, shamelessly compromise with each other for the sake of the party, and on the order of the leader."

"Walking is always for tomorrow; yesterday’s walk, today’s walk, tomorrow’s walk – all for tomorrow. That is what this world is."

"This day says nothing different to me than to you."

"It is ego that makes a man."

"‘Do not burden yourself with problems that you do not understand,’ he said. ‘If you do, then only the problems win. Human life becomes a tragedy.’"

"Look beyond your self-importance and pain. You will know yourself better."

"Our hearts have to cry to end our tears."

"Desperation guides us in life. Rationality does not."

"A man should have the right to choose his own shoes."

"There is no good or evil in the world. Only images."

"You can’t predict anything about a ruler."