American - Playwright | February 22, 1958 -
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?
Richard Greenberg
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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.
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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.
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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.
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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.
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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.
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People talk about alienation in the city. Diners are a place where you feel comfortable, an extension of your house.
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I came to New York, and it was fascinating and intimidating and yielding, and all the stuff it's supposed to be. But whatever the abstract essence I was seeking, I couldn't find exactly that.
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By the time I started writing plays, Broadway was never an expectation, so it's never been central.
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My usual route is, I do a play at South Coast Rep, then there's time between and I revise it, and then I take it to New York.
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For some reason, 1968 is a touchstone year for me. I think it was the first year I felt fully conscious.
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