Theater Collaboration Quotes

We worked on 'Fanny and Alexander' for seven months and it was an amusing production. Still, it was very long and heavy and so awfully complicated, .. And when the premiere was over and everything went well, I thought, 'That's that.' .

I called Scott Rudin, and I told him I wanted to do the play [Fences], so that's how the ball got rolling. I never said, "I'll do the play, and the next year I'll do the film, I just wanted to do the play."

Basically, we had the idea of doing this production of 'Steel Magnolias,' and we spoke to Queen Latifah about it, and she got excited.

I'm sure there are some good dramaturgs but I've never worked with one.

There's nothing like an opening night or like the curtain going up and having a full house, but also having weeks and weeks to work with your director and cast members and try to crack the play. It's great.

'You Can't Take It With You' has eighteen people onstage at one point. Musicals entail a larger collaboration, and I love that.

I hope Green Day write more for the theater. They're brilliant at it.

I always feel that I'm sort of co-directing with my fellow actors. And you can tell when something's going on that really interests them and they approve of. And then you can sort of tell when there's not.

There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.

Films take too long. There's too much BS, too much nonsense. If I want to do a play, I just call the theater, whether it's here, or in Paris or Mexico or Spain or London or whatever, and say, "I want to do this, are you interested?" They'll answer the next day. With a movie, it's all, "Oh, I see this film as blah blah blah." They don't know what you're talking about, they don't care.

A novel and its writer are inseparable: you are your books. A play's not like that at all. 'Abandonment's not mine - it's everyone's. I wanted it to be a co-operative thing because I was tired of that anal control that I have over novels.

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.

Doing Much Ado was such a special thing because I knew everybody involved. With people you hadn't worked with before, you would watch them on shows and want to work with them.

I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.