Whenever I’ve been in rehearsals, it’s really fun, there’s always laughing.
Sometimes when I’m directing, the stage manager will have a good idea and that’s okay with me.
I just love working with actors, and I love working with writers, working with designers.
You can’t run forever. There’s only so much pavement that the road makers lay down. After a while, the highway quits going north and it just turns into sky. And you can’t go anywhere in the sky unless you have a plane or some kind of rocket.
One of the tricks to writing great plays is to get people in a room together and not let them leave. You want the tension to escalate. Keeping them there is the hardest part, so you have to take away any excuse for them to leave.
I don’t like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
I’ve never really felt good at the parties, but I have enough friends now that I feel social, I used to feel very antisocial, but I think the theater helps.
It’s been hard for me to not write, and that’s the only process I can speak to I guess, it’s so compulsive and I need to do it all the time that sometimes I make myself not do it so I can actually tend to my life.
I began stealing a lot of ideas from other directors I had worked with.
It was like losing an important weight-bearing bone, and I knew I would spend the rest of my life trying to figure out how to walk the streets without it.
I think I’m a little more daunted by when the machinery of the play is really huge.
What I’ve learned in the last few years is that I am merely a storyteller.