David Hare may refer to:
I don't think of my plays as steamy places where people display huge amounts of emotions. The feeling is underneath, which in my experience is where most feeling is. I don't myself spend my life shouting in rooms, and I don't really believe things in which people do spend their time in total hysteria.
The majority don't like me before the curtain goes up, and I always have to win them.
Style is the art of getting yourself out of the way, not putting yourself in it.
Smiles are the language of love.
I have a very, very good relationship with 10 percent of the audience. The only purpose of art is intimacy. That's the only point.
In oratory the will must predominate.
Obviously VIA DOLOROSA is completely artificial. It is as highly wrought as any of my plays. But basically all the artifice is to disguise itself so you don't feel it's there. You're attempting to make the artifice like a pane of glass that simply leads you through to the subject - not to decorate the bloody glass.
In those days, the early 1980s, TV and film were interchangeable.
Weak minds sink under prosperity as well as adversity; but strong and deep ones have two high tides.
The poetry from the eighteenth century was prose; the prose from the seventeenth century was poetry.
Trying to be a socialist and a libertarian is obviously a very difficult balancing act, which nobody has pulled off too successfully in this century.
When you get older, then you feel death not at the end of the road, but death all around you, in everything. Life is saturated with death. I feel death everywhere.
Poetry is the key to the hieroglyphics of nature.
The great mystery of adaptation is that true fidelity can only be achieved through lavish promiscuity.
. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences. . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.
I actually think love changes everything. I think it's the only thing worth having.
If you kill a character people feel sad. That's too easy.
As you write plays, you discover what you believe. And until you know what you believe, you can't write a play.
The actual business of writing dialogue is not thought of as a craft.
No one but a fool is always right.