A Quote by Marc Platt

Many actors in films are willing to go to Broadway, and screenwriters are writing plays. It's almost commonplace. — © Marc Platt
Many actors in films are willing to go to Broadway, and screenwriters are writing plays. It's almost commonplace.
In my view the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
In my view, the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
I had done plays all my life. Many, many, many plays, off-Broadway plays.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
There's no big splashy renaissance in Italian films. We have good young actors and directors. What we lack are screenwriters. It's hard to write about Italy.
This is something particular to actors, especially in plays, and in films, too - but in plays, it's like, don't get involved with anyone in the play.
Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.
I like to see people put themselves into films, which is part of the reason why I love Woody Allen films so much - I believe his actors' work. I have a feeling that many actors in his films are similar to their characters, and I like that.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
When you think about Broadway, you think broad and big, but the fact is there are so many plays that are very intimate, but fill a 1,500-seat house. Plays like 'Who's Afraid of Virginia Woolf?' have deep moments of silence and intimacy to them.
Not a word of my writing has ever been changed by another person's hands, and I don't think many screenwriters can say that.
Writers - all writers, even screenwriters - like to make their mark. I don't think many screenwriters can write. They pass as writers.
When you're trying out on Broadway, it's very hectic, and you're making changes night after night. There's a lot of pressures from producers to make some changes, and you're writing for actors who are in it - and sometimes the limitations of actors who are in it.
I'd always done musicals, and so living in the world of straight plays and working with off-Broadway actors and living in that community was a completely life-changing experience.
I used to do lots of independent films and for a while I was very content living in New York City and doing independent movies and off-Broadway theater. I loved it, I had a really good time doing that, and I worked on a lot of projects that are very dear to my heart, both plays and films.
The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
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