I get the impression sometimes that a play arrives in a sequence of events that I have no control over.
From Tom Stoppard
I think I give the impression of being a romantic, and I think inside I'm quite severe. But some might say they had the opposite impression of me.
If I see an actor in a role that is really terrifying, no matter how many times I meet him socially, I'm still frightened of him. I think he's going to hit me.
All of my scripts are based on other people's novels. Generally, I consider myself as one who writes for theatre. I do not see film work as a continuation of writing for theatre. It is more of an interruption of the writing process.
I can be affectionate about a lot of things without watching them.
Like many people, I only knew of Ford Madox Ford through a book called 'The Good Soldier,' which is everybody's favorite Ford Madox Ford if they have one, but I came to read 'Parade's End' when it was suggested via Damien Timmer of Mammoth Screen.
You do know what's coming up when you're translating. I suppose the concentration, then, is on finding a formulation which is speakable and in character - and economical as well, actually.
In 2005, I got an email from Belarus Free Theatre. They were emailing playwrights in America and England announcing their existence and saying they would like support from us. I wrote back and asked if they wanted us to visit. They said, 'Yes, we'd love that.'
I actually went to an Oasis concert. I thought they were a brilliant songwriting band.
Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene.
9 perspectives
8 perspectives
7 perspectives
3 perspectives
2 perspectives