A Quote by Ann Rule
For a while, people couldn't understand why I'd find them so fascinating, but I'd rather go to a trial than to a Broadway play. Now that we have Court TV, they see what I mean.
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Most lawyers aren't trial lawyers. Most lawyers, even trial lawyers, don't get their problems solved in a courtroom. We like to go to court. It seems heroic to go to court. We think we're the new, great advocates, better than anything we've seen on TV, and we come home exhilarated by having gone to court.
Now I am practicing as well as a criminal defense lawyer in handling appeals. The court of appeals appointed me to handle cases and although that's not trial work and I don't have to go to court, it kind of satisfies the need I have to practice still and I have transitioned into readiness not to be in trial anymore. It took a little while for me to get used to not doing it and I did miss it for a few years, but eventually I transferred into another life.
I've been asked a lot why didn't 'Ruined' go to Broadway. It was the most successful play that Manhattan Theatre Club has ever had in that particular space, and yet we couldn't find a home on Broadway.
What I always wanna tell young people now: Pay attention. This isn't gonna happen again. Rather than try to understand it as it's going along, have it go along for a while and then understand it.
Exactly who is this God character who is said to be all-powerful yet needs to hire lawyers to take us to court? Isn't he miffed when someone he had always considered to be a true follower turns to the legal system rather than to prayer? Why would the faithful risk making God look ridiculous by losing a trial on Earth when he is certain to win every trial in heaven?
Sometimes you feel a need to express yourself, and there is no better way than to go to places where people need everything. It's dramatic, it's tragic. You just can't understand why, in the world of today, there are still things like that. The images you see on TV kill you. Of course when you are there (at these trouble spots) you can't turn off the TV. You are face-to-face with reality.
It's true I didn't get a fair trial, but the problem is people don't understand the details. It is important to understand the details of the trial and why I'm not guilty under the charges that were brought against me.
It took me a while to figure it out, but to have a real hit on Broadway, you have to get the respected Broadway people to like it. But then the production also has to appeal to the most middle-class people who know nothing about Broadway and who come to see it later.
There can hardly be a stranger commodity in the world than books. Printed by people who don't understand them; sold by people who don't understand them; bound, criticized and read by people who don't understand them; and now even written by people who don't understand them.
The problem is not the claycourt. The problem is, you know, rather something to do with the conditions on center court. Because I've played well on Suzanne Lenglen, on the other courts. But the Chatrier court is really, really big, and I just haven't had enough play on it. Maybe I come here next year and play a week on this court, if I can, if the French Federation lets me. We'll see. I've been playing well in other tournaments, in Davis Cup on clay. So for me it's not the surface, it's rather maybe the court.
So rather than someone coming to my stu- dio and saying, like, "Thank you for your time. I'll see you later," and me not knowing why they don't like my work, I understand now why they don't like it.
Finding the right people and giving power and letting them go find value in the world. That's got to be toughest. Really, its like the Spanish court in the 16th century saying, um, take this ship and go see what you can find. You have to believe in your sailors!
I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.
When people say, 'Why don't you face the music?' I say, 'You have to understand the music is not an open court and a fair trial.'
Even though this is a business you do have people here that you're with every day, like your family. You want to go play for them and you want to win with them. You have to find a way to do that but understand that there is a business side to it. You have to find a way to understand.
I never understood who all those people are behind the actors! When you see them on the red carpet on TV, you go, 'Why does that person need such a large entourage?' And then you realize that every single person there has a role to play.
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