Edward Albee Quotes

The process by which the idea for a play comes to me has always been something I really couldn't pinpoint. A play just seems to materialize; like an apparition, it gets clearer and clearer and clearer. It's very vague at first, as in the case of Streetcar, which came after Menagerie. I simply had the vision of a woman in her late youth. She was sitting in a chair all alone by a window with the moonlight streaming in on her desolate face, and she'd been stood up by the man she planned to marry.

After the first shock of recognition - a sudden sense of "this is what I'm going to write" - the novel starts to breed by itself; the process goes on solely in the mind, not on paper. I feel a kind of gentle development, an uncurling inside, and I know that the details are there already, that in fact I would see them plainly if I looked closer, but I prefer to wait until what is loosely called inspiration has completed the task for me.

I have never felt like I was creating anything. For me, writing is like walking through a desert and all at once, poking up through the hardpan, I see the top of a chimney. I know there's a house under there, and I'm pretty sure that I can dig it up if I want. That's how I feel. It's like the stories are already there. What they pay me for is the leap of faith that says: 'If I sit down and do this, everything will come out okay.'

Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.

Any creation of art is conceived and born under influences, amidst the atmosphere of reverie and the most customary volition of the artist. It is there, in any case, that his work arises from.

Every picture has its own demands, and every picture stimulates something within you to tell it a certain way. I don't know what that is; I don't think too much about that.

The songs I've written that are the strongest, I'm like: 'I don't know where that came from. It just kind of popped out.' You feel you can't take a whole lot of credit for it. I didn't purposefully will it into existence.

The muse whispers to you when she chooses, and you can't tell her to come back later, because you quickly learn in this business that she might not come back at all.

I've dedicated a lot of my life as a writer to understanding how to hear the divine voice, or the music of the spheres, or whatever it is that we do when we're making art, making something out of nothing. Figuring out how to do that is much more important than knowing how to execute a good line. I don't think about that anymore, I just write.

In making movies, time is so short-because it is so expensive-that we tend to neglect the place from which the best ideas come, namely that part of ourselves that dreams. The unconscious is our best collaborator.

That's how I work, whether with stories or novels - they start with an image that comes to me in a daydream, and a lot of times I'm walking around with these pictures in my head for awhile before I start writing.

I don't go through a torturous intellectual process to decide what to direct. I know what I want to direct the second I read something or hear a story. I just know when it grabs me in a certain way I want to direct it. And then I spend the next four to six months trying to talk myself out of it, because directing is really hard! But it's true, I know essentially when and what I want to do next... it's an undeniable feeling I get and it's not the same feeling I get when I wind up producing something.

Songwriting is like ... being possessed. You try to go to sleep but the song won't let you.

I think there's probably always been visions and voices, and these were variously ascribed to the divine or demonic or the muses. I think many poets still feel they depend on an inner voice, or a voice which tells them what to do.

Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.

It seems the best work I do is when I am really allowing the unconscious to rule the page and then later I can go back and hack around and make sense of things.

I discover that I am thinking about a play, which is the first awareness I have that a new play is forming. When I'm aware of the play forming in my head, it's already at a certain degree in development.

The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.

I'm still trying to write. I wrote a play a few years ago, so I'm trying to start writing again. The play was called The Commons Of Pensacola. It was at MTC [Manhattan Theatre Club] with Sarah Jessica Parker and Blythe Danner. It was kind of like a riff on Ruth Madoff.

GOOD AS NEW was born out of the idea of writing a play where the stakes were high and the collisions were of a verbal nature. Also I wanted to write a play where people were smarter than I was, and more alive than I feel normally. I became interested in the idea of characters who would surprise me. I guess one could argue that nothing comes out of you that wasn't within you to begin with, but maybe there are ways to trick yourself into becoming more an observer or an advocate for the characters.

Writing is like listening to a melody line in my head. Note by note, it knows where it wants to go. I follow it and lay it down. I can pare it, shape it, and polish it later...My job is to take down the dribs and drabs - to free-associate, if you will, knowing that the associations have their own plans for where we're going with all this.

I don't decide. My secret self decides. I just go with my subconscious. If it wants to do a poem, I do a poem, and if it wants to do a play, I do a play. So I'm not in charge, I'm not in control.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

I usually think about a play anywhere from six months to a year and a half before I sit down to write it out.

You see, writing down your meanderings gets something started deep in the recesses of your brain. That distant part of your mind knows that you want to write stories or poems or plays and not endless jabber, and it will get to work. It may take a while. You may have to write this stuff for hours or days or weeks, but eventually that subterranean part of your brain will come through and begin to send you ideas.