I'm not that taken with Freudian perspectives. They seem to be overcomplicated.
From Tom Stoppard
A publisher many years ago asked if I'd like to write a novel for £50. And I said, 'Absolutely.'
Chekhov directors and Chekhov actors love working on his plays because there seems to be no end to what you can find out about the micro-narrative when you're investigating a text.
There are many, many more small theater spaces than there were when I was starting out.
I'm very garrulous, but I don't say anything.
I don't believe there is something called 'film' and something called 'theater,' and that words belong in the theater. Some rather bad films have few words in them; some good films have a lot of words in them.
Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.
I like dialogue that is slightly more brittle than life. I have always admired and wished to write one of those 1940s film scripts where every line is written with a sharpness and economy that is frankly artificial.
You don't often get a proposal to do Tolstoy for a really interesting director - that's easy to say yes to.
I am good at being shown something and counterpunching.
9 perspectives
8 perspectives
7 perspectives
3 perspectives
2 perspectives