A Quote by Annie Baker
I'm really trying to stop setting my plays in this one fictional town in Vermont.
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'A Tuna Christmas' is the second in a series of plays created by Joe Sears and Jaston Williams featuring the fictional town of Greater Tuna, the third-smallest town in Texas. What makes these plays so hysterically funny is the accurate portrayal of small-town life in the Lone Star State.
The best moment in writing any book is when you just can't wait to get back to the writing, when you can't wait to re-enter that fictional place, when your fictional town feels even more real than the town where you actually live.
I've spent my life living in rural America, some of it in blue state Vermont, some of it in red state upstate New York. They're quite alike in many ways. And quite wonderful. It's important that even in an urbanized and suburbanized country, we continue to take rural America seriously. And the thing that makes Vermont in particular so special, and I hope this book captures some of it, is the basic underlying civility of its political life. That's rooted in the town meeting. Each of the towns in Vermont governs itself.
I love it when real science finds a home in a fictional setting, where you take some real core idea of science and weave it through a fictional narrative in order to bring it to life, the way stories can. That's my favorite thing.
Shouting down and intimidating someone from speaking their mind is not exactly a Vermont town meeting value, nor should it be an American town meeting value.
No Vermont town ever let anybody in it starve.
History is basically really looking back and finding out what happened to an individual, a community, a family, a group in a certain event. And so that's why I go, "Wow. That's what acting really is. You find out the background, you get the joy of creating a fictional history of a fictional character and you get to tell a story." So I felt that acting is making history come alive and it became my mode of trying to figure out what this craft of acting is really all about.
I have been challenged with the fictional languages I have to learn. I wasn't terrible at languages at school - I got an A in French, so I did well enough - but I didn't enjoy them. I'm not even sure if that plays into how well you learn a fictional language!
For some reason, I always get offered plays when I'm doing plays and then, if I stop doing them, people stop asking me.
There's a real danger in trying to stay king of the mountain. You stop taking risks, you stop being as creative, because you're trying to maintain a position. Apart from anything else that really takes the fun out of it.
Whoa, I've really got to stop making plans with fictional characters. It can't be healthy to develop relationships with people who don't exist.
The greatest joy I get is setting up plays for somebody else. I take a lot of pride in helping other people make plays.
My family lives in Vermont. I'm a law professor and I spend summers researching and writing in Vermont.
Vermont is such a small state, and the most money that's ever been spent in the history of political campaigns there is $2 million. That number is going to be surpassed many times. Vermont remains a "cheap state" for the Republican National Committee. So putting $5 or $10 million into Vermont - compared to New York or California or Illinois - that's small potatoes.
I'm trying to listen to my past, listen to what's most deeply going on inside myself, my creative set of fictional characters, a fictional world - to listen to that world, to search.
You can't stop change any more than you can stop the suns from setting.
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