I parle Francais like a Spanish cow.
Israel Horovitz
I have seen dozens upon dozens of productions of 'Lebensraum' in dozens of languages around the globe.
If work isn't rooted in comedy, people will turn from it, or they'll use it like soap opera.
It's not unusual for people to like Florida in the winter. I'm not a great tourist. I like coming down to work.
Theatre's great. It's such an act of faith. It's a wonderful art form where you suspend disbelief for a couple of hours. It's a lovely art form because the actors and the audience are alive and in the room at the same time together. That's why I love the theatre.
People expect someone with the name 'Israel Horovitz' to be a little old man with sideburns carrying a Torah.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
You write a play mostly out of yourself. There's a need to get a certain thing down.
I grew up in Wakefield, Mass., and there were only a couple of Jewish families in the town.
I learned Hebrew from a high school teacher named Mr. Cohen. We would drive down the highway to meet his car, and Jewish boys from these Massachusetts towns would sit in his car and learn the lessons.
I've always been a fighter - it's always been a part of my personality.
My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.
I've done nothing with my life but write plays.
I have a visceral response to a memory of working-class life.
Gloucester's not some chi-chi tourist town. It's a working-class seaport: a no-kidding-around down-and-dirty place.
It's one of the terrors of old age that your body is not your friend. Or to be out on the street and be frightened of someone because you're not in good shape and can't do anything about it.
I am an internationally produced playwright.
I have never written a play, a story, a poem, or my one film - anything - unless something was troubling me enough, wrecking me, in fact, to drive me back into the absurdity of writing. I do not enjoy writing.
I'm really into the irony of writing vaguely radical plays that instantly win huge establishment awards. It's really amusing.
I write because I don't know how to ask my questions any other way.
Radical politics tend to be simple minded.
Maybe all theatre is going to be irrelevant for all time.
France is very welcoming to foreign writers.
I was not to the manor born.
I don't direct the plays of others.
My dream is to have a small company in France.
L.A. is so focused on TV and film that theater is kind of an arcane sport. People look at you like you're doing something cute.
I felt no need to write a German-bashing play.
The Holocaust story has been told and retold so many times.
I began coming to Paris in the 1960s when I was told audiences here liked my work. More than 20 of my plays have been produced in Paris, and several have had long runs and have returned in revivals.
What Lou Tyrrell creates when he has a theater is a birthing center for new plays.
