A Quote by Mike Nichols
Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'
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I do have some theatrical background. I've written plays and seen plays and read plays. But I also read novels. One thing I don't read is screenplays.
Like I always say, it's not how many great plays you make; it's how few bad ones you make. I know fans, and even some losing coaches, are enamored with long pass completions or the great run plays, but that doesn't offset the interception or the fumble.
You run your plays, you know your plays, you study your plays, you study the other team, you do as much as you can, you go to practice, you get in shape, you do what you need to do, and then by the time you get to the game, you know your plays, but they have to feel like they're in your bones. That has to be an unconscious thing, it cannot be conscious. That is everything to me.
You can say what you want about Carlos Tevez, but when he plays, he plays to win, and he plays for his team-mates.
I can't pretend at how much I object to all of the plays that keep being brought back over and over again, the so-called classic plays. I mean how many times can we see 'The Glass Menagerie?'
I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
When I got to university, I would read plays and go, 'But these are about the past. Where are the plays that I love about now?' I couldn't find them, so I started writing.
I know I can get to the basket whenever I want, but I've got to be able to create some plays, like easy plays.
I love secrets. Here's a bunch of people who think they know each other over a long period of time. And they do. And they don't. Secrets aren't the same thing as shame, but they can fall in that category. I'm very interested in the ways that people are open and honest with one another and simultaneously in hiding. What we know about those we love is only part of the story. Who do we protect with our secrets? Others? Ourselves? These are questions that interest me in fiction. The public and the private self.
When I was a kid my father would read Neil Simon plays with me when I was going to bed, as bedtime stories. All of these old plays like The Odd Couple and Lost in Yonkers - funny but corny plays about Jewish New Yorkers in the mid-20th century.
It's kind of the period of your career where as a fighter, you need some sort of validation from time to time. I mean, winning matches and going off to the next one, without really having any direction, it's fun, but it's good to have a period where you can say "Ok, I won a title. Ok, I got picked up by a big organization." So every step in there is important.
For many playwrights, they write the plays anyway because they've got to be, the work has been started, it's got to be finished, but we all long, I think, to see the plays fleshed out on stage and I'm exactly like that. Yes, I'm not satisfied until I actually see it on stage.
We cannot wholly rely, as though it were Medieval times, [on the notion that] the only reality is what we see in front of us. There are germs. There are changes that are happening in our planet's ecology that are happening over such a long period of time that we cannot see the changes.
I've always viewed 'Sons of the Prophet' as the first part of a larger trilogy - not three plays dependent on each other but three stand-alone plays connected by theme and, likely, further adventures of the Douaihy family.
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.
Arthur Miller once payed me a great compliment saying that my plays were 'necessary.' I will go one step further and say that Arthur's plays are 'essential'
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