My fault now is making my plays too short.
From Beth Henley
It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.
That was always my inclination, to start on a new play before the other one gets done, because at least you'll have something to go back to if that play gets trashed.
You can't just go in there and open your mouth until the cast and director feel comfortable with you.
Some really good things kind of swing both ways and I like to see people that can swing really, really, really sad and horrible and terrible and really, really, really beautiful and funny.
But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.
In movement class, you had to lie on the floor and get your alignment in to pass the class.
It's called Sisters of the Winter Madrigal. It was interesting for me to see it done after so many years; because I wrote it and I didn't realize what a rage I was in.
My first few plays took place in the South and even The Lucky Spot was in the thirties but in Louisiana.
Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.
3 perspectives
2 perspectives
1 perspectives