Playwright Quotes

Under Todd Haimes' leadership, Roundabout created a black-box theater whose sole mission was to house premieres by writers who are just starting out and have zero name recognition.
Until I have a family or a mortgage, I'm trying to keep my lifestyle simple and my apartment affordable so that I can continue to focus on theater. That's as good as it gets for me.
When you're the artsy, weirdo, introverted outsider growing up, you don't fit into your community.
With 'The Humans,' I've found that because it's related to very familiar forms - the family play and the thriller, almost a genre-collison play - some people want it to be one or the other. Either less dark and more of a family comedy or a full-fledged thriller with blood and ghosts jumping out of closets. Everyone's taste is different.
Without a conscious effort, all of my plays have all featured gay characters. I'm proud of that.
Writing a play to get to Broadway and have a national tour is a sure way to write a terrible, terrible play.
By the time I started writing plays, Broadway was never an expectation, so it's never been central.
For some reason, 1968 is a touchstone year for me. I think it was the first year I felt fully conscious.
Frankly, seeing my plays with an audience is something I do with gritted teeth; I find the experience very difficult. I love the moment when you have just the dress rehearsal, when no one's there; that's kind of the peak to me. When people start filing in, I like to file out.
I came to New York, and it was fascinating and intimidating and yielding, and all the stuff it's supposed to be. But whatever the abstract essence I was seeking, I couldn't find exactly that.
I do think the past changes at a slower rate. It sits a little more still for its portrait.
I don't write a play from beginning to end. I don't write an outline. I write scenes and moments as they occur to me. And I still write on a typewriter. It's not all in ether. It's on pages. I sequence them in a way that tends to make sense. Then I write what's missing, and that's my first draft.
I like the Mets. I'm interested in the Mets.
I started in the era when Hollywood reveled in being the most cost-inefficient industry on the planet. They used to commission a hundred scripts for every one they made.
I think I can be an intimidating energy in the room. I think I come in with an aura of wanting results because as the playwright, I know how it goes, and there's the thought, 'Why can't they catch up?'
I think I'm a writer, and it's my job. People in other professions are expected to do their jobs all the time. Why shouldn't I?
I want to be a playwright the way people are bank tellers. I want to keep doing it and have it go steadily and smoothly.
I was formed by 'The Forsyte Saga' marathon. There was something about seeing all those events telescoped that was unbelievably moving: that sense of time as something that can be tinkered with.
I'm sort of anti-Aristotelian. I want to get an entire life onstage while conveying a sense of how time feels, how unstoppable it is, and how we don't really know what's going on because as we're trying to weave, it's weaving us.
It seems that the hurdle you have to jump over is everyone's informed opinion. When you're a young playwright, you're probably too precarious in your own technique to understand that when these seemingly informed opinions are contradicting each other, it becomes this paralyzing monolith.
«first‹previous5859606162636465666768next›last»
Total Records : 1839

Related Books

Share to your friends..

Popular Topics

Attitude Death Inspirational Life Love Motivational Nature Positive