On the one hand, it makes life very difficult for them. On the other hand - and this isn't a recommendation for being a suppressed writer - in their situation now, as with Havel and his friends in the '70s and '80s, the consolation is that your work matters.
I can put two and two together, you know. Do not think you are dealing with a man who has lost his grapes.
the natural condition is one of insurmountable obstacles on the road to imminent disaster. strangely enough it all works out in the end... it's a mystery.
The fact is that people are attracted to new work and by new work.
My work always tried to unite the true with the beautiful; but when I had to choose one or the other, I usually chose the beautiful.
I've never really worked out this thought, and I don't know if I'm really conscious of it, but I can see there's an attraction about writing about a period that's over and isn't going to change colour while you look at it.
I don't look at my work in a critical or analytical way; I just don't think of myself objectively. It doesn't interest me.
I don't draw on my inner life in my work.
All of my scripts are based on other people's novels. Generally, I consider myself as one who writes for theatre. I do not see film work as a continuation of writing for theatre. It is more of an interruption of the writing process.
If you don't know what is being said, the rest of the actor's work is wasted.
With his earliest work he stood alone in British theatre up against the bewilderment and incomprehension of critics, the audience and writers too.