TCM STAR OF THE MONTH: ELIZABETH TAYLOR - 3/12-3/16
TCM tribute traces her remarkable career through four decades and 30 films: Cynthia - A Date with Judy - National Velvet - Life with Father - Little Women - Lassie Come Home - Courage of Lassie - Conspirator - The Big Hangover - Love Is Better Than Ever - The Girl Who Had Everything - The Last Time I Saw Paris - Rhapsody - Raintree County - Giant - Ivanhoe - Beau Brummell - BUtterfield 8 - The Sandpiper - The Taming of the Shrew - Doctor Faustus - X, Y and Zee - Elizabeth Taylor: An Intimate Portrait - Cat on a Hot Tin Roof - Suddenly, Last Summer - Reflections In a Golden Eye - The Only Game In Town - Secret Ceremony
DOCTOR: I can see how he might be, I think he would be disturbed if he thought he’d seen God’s image, an equation of God, in that spectacle you watched in the Encantadas: creatures of the air hovering over and swooping down to devour creatures of the sea that had had the bad luck to be hatched on land and weren’t able to scramble back into the sea fast enough to escape that massacre you witnessed, yes, I can see how such a spectacle could be equated with a good deal of—experience, existence!—but not with God!Canyou?
MRS. VENABLE: Dr. Sugar, I’m a reasonably loyal member of the Protestant Episcopal Church, but I understood what he meant.
DOCTOR: Did he mean we must rise above God?
MRS. VENABLE: He meant that God shows a savage face to people and shouts some fierce things at them, it’s all we see or hear of Him. Isn’t it all we ever really see and hear of Him, now?—Nobody seems to know why …
‘Why did I write? Because I found life unsatisfactory.’
'When I stop working the rest of the day is posthumous. I’m only really alive when I’m writing.’
'At the age of fourteen I discovered writing as an escape from a world of reality in which I felt acutely uncomfortable.’
'I believe the way to write a good play is to convince yourself it is easy to do–then go ahead and do it with ease. Don’t maul, don’t suffer, don’t groan till the first draft is finished. A play is a pheonix and it dies a thousand deaths. Usually at night. In the morning it springs up again from its ashes and crows like a happy rooster. It is never as bad as you think, it is never as good. It is somewhere in between, and success or failure depends on which end of your emotional gamut concerning its value it approaches more closely. But it is much more likely to be good if you think it is wonderful while you are writing the first draft. An artist must believe in himself.’
