Zitat des Tages von Richard Greenberg:
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.
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 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 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.
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.
I do think the past changes at a slower rate. It sits a little more still for its portrait.
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?'
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?
By the time I started writing plays, Broadway was never an expectation, so it's never been central.
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?
My friends and family have been so well trained that they know I really mean it when I say that I don't care if the review is good, because that can be as dangerous as when it's bad. It's less demoralizing, but it can be just as confusing.