You have to respect who the character is. It has its own internal truth, and you can't betray that. And if you don't betray that, it will not betray you.
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Why is being a female having an agenda any more than being a misogynist - which David Mamet most certainly is?
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We need theatre that is contemporary, lively and relevant, and the only way to do that is to take care of our playwrights and produce their plays.
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I find a lot of input from other people very stressful.
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I see how the Midwest distrusts the East Coast. The Midwest sees itself as morally superior. The Coast sees itself as intellectually superior. And the two are actually the same thing.
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Spielberg read the 'Understudy' and decided that was the voice he wanted to write 'Smash.' He wanted a story that had humanity and humor and high-stakes dreams.
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I sincerely believe that for the New York theatre to remain relevant, all our major producing institutions should be presenting new American plays.
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I'm not afraid of just cranking it out and seeing what comes out of my subconscious. Because I don't always know what I'm feeling. I do a lot of rewriting later. But that first blast feels like a spigot - like it's coming from somewhere else.
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I remember when I was at Brandeis, Geoffrey Wolff, he was a great fiction-writing teacher. He was the writer-in-residence, and for those of us who wanted to be writers, you were so excited to be in the same hallway as him.
