I do think the past changes at a slower rate. It sits a little more still for its portrait.
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.
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.
When we watch a play under the standard circumstances, we've lost volition and time is passing. A still play feels like an existential threat.
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.
When you're writing plays, it's possible to believe you don't have any real world skill. When you're adapting, it is really all about the mechanics, so you feel closer to, I don't know, an accountant or someone who has a body of information. It's not all about temperament.
By the time I started writing plays, Broadway was never an expectation, so it's never been central.
People talk about alienation in the city. Diners are a place where you feel comfortable, an extension of your house.
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.
For some reason, 1968 is a touchstone year for me. I think it was the first year I felt fully conscious.
I like the Mets. I'm interested in the Mets.
My usual route is, I do a play at South Coast Rep, then there's time between and I revise it, and then I take it to New York.
The idea of a rupture between acts occurs in a number of my plays.
You do think, if you have your druthers, 'I want to sort of be, not anonymous, but unknown'. But you don't have your druthers in life, do you?
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.
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