Theater is still a medium which attracts young writers. You'd think that it would be all over by now, with television and film. But it's not.
I write for film or, in this case, television when I haven't got a play cooking.
Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
Writing a play is like smashing that [glass] ashtray, filming it in slow motion, and then running the film in reverse, so that the fragments of rubble appear to fly together. You start - or at least I start - with the rubble.
I've never written an original piece for film; all the original things I've done are for the stage.
I began writing for theater, and maybe because of that I've always thought of myself as a theater writer who does work in film sometimes.
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