A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.
Mike NicholsRead
The reason you do this stuff - comedy, plays, movies - is to be seized by something, to disappear in the service of an idea.
Interpretation
What this quote means
Creative work is driven by passion and the desire to express ideas.
Mike Nichols emphasizes that the true essence of engaging in artistic endeavors such as comedy, theater, and film lies in the deep commitment to an idea or concept. The goal is not just to entertain, but to immerse oneself fully in the creative process, allowing the artist to become a vessel for the expression of that idea, ultimately leading to a transcendent experience for both the creator and the audience.
Themes
ArtCreativityPerformanceExpressionIdeas
In practice
Example use cases
Sharing this quote at an arts festival to inspire creativity among performers.
More from Mike Nichols
All quotes →There’s nothing better than discovering, to your own astonishment, what you’re meant to do. It’s like falling in love.
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You could say that it's in talking movies that inner life begins to appear. You can see things happen to the faces of people that were neither planned nor rehearsed.
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The thing about being an outsider... is that it teaches you to hear what people are thinking because you're constantly looking for the people who just don't give a damn.
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I've learned that many of the worst things lead to the best things, that no great thing is achieved without a couple of bad, bad things on the way to them, and that the bad things that happen to you bring, in some cases, the good things.
Mike NicholsRead
Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'
Mike NicholsRead
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You cut up a thing that's alive and beautiful to find out how it's alive and why it's beautiful, and before you know it, it's neither of those things, and you're standing there with blood on your face and tears in your sight and only the terrible ache of guilt to show for it.
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I had just arrived in New York from California. I was nineteen years old and excited beyond belief. I was an art student and an acting student and behaved as most young actors did - meaning that there was no such thing as a good actor, 'cause you yourself hadn't shown up yet.
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You have to distinguish between things that seemed odd when they were new but are now quite familiar, such as Ibsen and Wagner, and things that seemed crazy when they were new and seem crazy now, like 'Finnegans Wake' and Picasso.
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Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.
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Perhaps it is no surprise I became an entertainer because many of my relatives were natural performers. Dad, who had a fine pair of lungs, was master of ceremonies at East Ham working men's club in east London. I felt so proud when I saw him in his white gloves calling out the names of the dances.
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People observe the colors of a day only at its beginnings and ends, but to me it's quite clear that a day merges through a multitude of shades and intonations with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spot blues. Murky darkness. In my line of work, I make it a point to notice them.
Markus ZusakRead