American - Playwright | February 19, 1958 -
In the theater, there's an emphasis on the singular voice. You know, it's your play. And in television, there's so much institutional involvement. So you end up having to negotiate with a lot of people, and that provides a kind of wear and tear on the spirit.
Theresa Rebeck
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Watching people toss all caution to the wind, who are ready to put their lives on the line for a dream, is something that is accessible.
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I think that because television is shot on a really fast schedule, and it gets piped into your home on a smaller screen, it's much more about character and dialogue in a lot of cases than the movies are.
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The movies are all about visual, and television is all about character and dialogue.
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I actually think we should be trying to be rigorous in our thinking about television and the way it enters our lives and shapes the way so many people think.
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I have always worked consistently, even in small ways and even in smaller theaters where I'll do One Acts or something.
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Honestly, the thing that I have found to be most useful over a long career, or maintaining a long career, is taking back the power at some point and self-producing.
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I like working with television. I do.
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I often find it maddening to live in America, in a way that is both amusing and horrifying to me. America clings to versions of itself that are absolutely hypocritical. I can't shake my outrage at it, so I write about it.
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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.
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It's so funny, I'm always stealing from Moliere, and nobody ever notices. I steal from him willy-nilly.
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I let action rise out of character, really.
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